New music is due from BDRMM, Jozef Van Wissem, and Alison Cotton, while old music is due from Deux Filles, Amon Düül, and Scientist.
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30M RECORDS (GERMANY)
CAT #: 30M 004CD
FILE UNDER: CLASSICALDARVISHI, AFTAB A Thousand Butterflies CD
Aftab Darvishi: a distinctive voice that combines her classical music training with the diverse influences of her native Iran. A Thousand Butterflies is a portrait album that looks back on Darvishi's eleven-year journey as a composer and tells of a life -- hers -- that has crossed continents. "Each piece on this album tells a part of my life that has taken place in every corner of the world," shares Aftab Darvishi, whose music draws on a wide variety of styles. She presents works for a variety of instruments and electronics on her debut album. "When I compose, I don't think about style," Darvishi says. "It's not that logical, it's not very calculated. It's more by instinct. My music is not just Persian music -- it's much more than that: it's an approach to being." "Sahar" (Dawn) opens Darvishi's album; it is the most recent composition on the recording. Based on a traditional melody from the Kermanshah region, traditionally played at dawn as a morning wake-up call, Aftab Darvishi has written "Sahar", a work for cello that uses traditional Persian playing techniques. Originally, this melody was heard on the sorna -- later it was also played on the tanbur and mixed with vocals. A live recording of a performance by the Stockholm Saxophone Quartet in Stockholm during the Corona period follows: "Hidden Dream" is vivid, telling of journeys, hopes, dreams. The following work "A Thousand Butterflies", namesake of the album ties in with dreams and hopes: The piece for clarinet and piano is inspired by the experience of immigration, recalling those people who daily leave their homes forever: "In my imagination, thousands of men and women fly toward a better future," Aftab Darvishi says. In each of the three movements, she looks at immigration from a different perspective, conveying to listeners the diversity of experiences and feelings of immigrants. The earliest composition, "Forgetfulness", was recorded in Tehran, as was "Sahar", but before she went to the Netherlands to study composition. It has accompanied Aftab Darvishi on her travels ever since and is always a reminder of her origins. The album closes with the atmospheric "Plutone".
A RECORDINGS (UK)
CAT #: AUK 009LPBRIAN JONESTOWN MASSACRE, THE Spacegirl and Other Favorites LP
2022 black vinyl repress, Originally released in 1996 and now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram black vinyl. Taken from the original vinyl release with the original tracks & re-cut at Abbey Road.
CAT #: AZ 2000LPABBYSINIANS, THE Satta (Red Vinyl) LP
2022 red vinyl repress. Originally released in 1975. "Satta Massagana is a roots reggae album released by The Abyssinians officially in 1976. It is widely considered The Abyssinians' crowning achievement and a classic roots reggae album. The title track 'Satta Massagana' was a huge hit and has been covered numerous times by both The Abyssinians and other artists since. It has even been adopted by some Rastafarian groups as a hymn used during services. The song, which translates from the Amharic language as 'He Gave Praise', was originally recorded for Studio One in 1969, but the label's owner, Clement 'Coxsone' Dodd declined to release it."
BANG! RECORDS (SPAIN)
CAT #: BANG 157LPRADIO KSG A Million In The Creek LP
Radio KSG was formed by Kent Steedman (Celibate Rifles), Russell Baricevic (Bored, Pray TV), Ben Brown (The Hellmen), and Vince Donato (Flycharmers). The album Million In The Creek is the first collection of songs released and recorded by Radio KSG over the last two years and the first LP from the band. All being well, another will be completed by the end of 2022. Radio KSG is a collaboration of musical friends from Sydney and Melbourne joined to play for the joy of music. Featuring members from a number of classic iconic rock bands from the independent Australian music scene. Kent Steedman has played guitar with The Celibate Rifles for 40 years and participated in projects with Deniz Tek, Crent, Yage, La Secta, Jim Moginie and the Family Dog, Screaming Trees, and others. Russell Barecivic has played bass with Bored and Pray TV among others and is a solid, well-respected bass player. Ben Brown sang in The Hellmen and is a globally respected artist and designer from Sydney. He has done covers and posters for bands from underground indie to Guns N' Roses levels of fame. Vince Donato plays drums from Melbourne underground bands and has worked in labels and management in Melbourne and globally. The band came together to create and share songs and ideas with a guitar focus and an ironic observance of humanity and language. Enjoying playing music and recording together with many years of experience. The sound is tough, lively with an Australian edge and a commercial touch that pays homage to the legacy of the members but with an open-minded approach to new versions of the same genre.
BEAT GENERATION (SPAIN)
CAT #: BEAT 088EPAGENTSS Agentss 12"
A milestone in the history of electro-pop and post-punk music in Brazil! Finally gathered in a 12" the two 7" of the seminal band Agentss, ground zero of Brazilian post-punk. Originally released in '82 and '83, until now these recordings were only available in their original format. Their members were key figures of the São Paulo underground, after the band split-up they went to create important bands such as Voluntários da Pátria, Azul 29, Violeta de Outono, and Mumia. The track "Agentes" was included in the Não Wave (Brazilian Post Punk 1982-1988) compilation released by Man Recordings in 2005. The release comes with an insert featuring unpublished photos and texts telling the story of the band. A milestone in the history of electro-pop and post-punk music in Brazil. Agentss was a seminal band that recorded only two singles, did few shows and imploded. It's no exaggeration to compare their debut show with the famous Sex Pistols concert in Manchester, when approximately 50 people that left the place with the idea of starting their own band. The band's sound was a transitional one. Part of what is perceived as post-punk is actually pre-punk (including bands as Suicide, Chrome, Cabaret Voltaire, and This Heat) and we could draw comparisons of Agentss with the initial Ultravox (John Foxx era), the albums by guitarist Snakefinger produced by The Residents and the experimental early Devo.
BEAT RECORDS (ITALY)
CAT #: DDJ 012DLX-LP
FILE UNDER: SOUNDTRACKDE ANGELIS, GUIDO & MAURIZIO Continuavano A Chiamarlo Trinita LP
After the release of Lo Chiamavano Trinità soundtrack, and its 50th anniversary edition Beat Records couldn't miss the meeting with its famous sequel Continuavano A Chiamarlo Trinità, featuring the soundtrack by Guido & Maurizio De Angelis, the two musician brothers among the most popular authors of soundtrack and other music in Italy. On the cover is Renato Casaro's artwork, finally complete and uncut on top of Trinity's horse. The master assembled by Beat Record' sound engineer, Enrico De Gemini, features the original tracklist plus some extra bonuses which complete the album. Remastered from the 24 inches master tapes, already for the last Digitmovies edition, it represents one of the best sounding productions in our whole catalogue and fills a void in the two brothers' discography, with this deluxe edition, that needed to be filled. Trinity stand tall, Remember and all the other iconic themes of the soundtrack of Continuavano A Chiamarlo Trinità in a limited edition you can't miss by Beat Records and Duse Records. 180 color vinyl, white with a green stripe in the middle.
BUH RECORDS (PERU)
CAT #: BR 149LPVA Sintomas De Techno: Underground Electronic Waves From Peru (1985-1991) LP
Síntomas De Techno presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble, and Reacción were responsible for introducing styles such as techno pop, EBM, industrial, and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called "Rock Subterráneo" (underground rock), these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí, and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: visceral sound, mechanical rhythms, and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior, and Reacción), were in fact affiliated to an electronic sound (techno pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas De Techno (Symptoms of Techno) represented an important step towards the development of a local culture of electronic music during the '90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Buh Records' Essential Sounds Collection, making available a vast archive of avant garde, Peruvian music. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. Includes extensive information and visual documentation; edition of 300.
CAT #: BR 159LPVA Alrededor De La Humisha: La Musica De Los Conjuntos Tipicos Amazonicos De Peru LP
Around the Húmisha: The music of the traditional Amazonian ensembles of Peru is a compilation that brings together for the first-time various groups formed between the mid-60s and early '80s, which defined the sound of the popular music that emerged in the Peruvian jungle. Here, genres of indigenous Amazonian roots are represented, such as the pandilla, the chimaychi, and the sitaracuy, which are typically performed in carnivals and regional Amazonian festivals. These gatherings always culminate around a húmisha tree, a representative element of these celebrations, which is surrounded by a troupe of dancers who cut it down to the rhythm of a pandilla. Based on these native genres, these traditional ensembles were nurtured by diverse influences, coming from the Andes (huaynos), the Peruvian coast (creole waltzes), as well as from neighboring countries such as Brazil (samba, tanguiño), Colombia (cumbia), and Ecuador (sanjuanitos). The music is performed using the traditional instrumentation of quena, bass drum, and snare drum, sometimes supplemented with violin, clarinet, saxophone, guitar, and maracas. This compilation brings together songs from Conjunto Selva Alegre, Flor del Oriente y su Conjunto, Los Guacamayos, Los Solteritos, Dúo Loreto, Los Pihuichos de la Selva, Los Ribereños del Huallaga, Conjunto Esperanza de San Martín, Conjunto Típico Corazón de la Selva, Jibarito de la Selva con Los Mensajeros de la Selva, and Los Hijos de Lamas. These groups released records on the main Peruvian labels of the '70s and '80s; today, those albums are true collector's gems, hard to come by. Here we find some indisputable classics from the Amazonian repertoire such as "La leyenda del pífano" by Adolfo Sandoval in the masterful interpretation of the Dúo Loreto, "El Pucacuro" by the Amazonian diva Flor del Oriente, the highly popular "Salta Yanasita" by the Conjunto Selva Alegre, as well as the classic "Alegría en la selva" by the Conjunto Típico Corazón de la Selva, a true Amazonian anthem. Following the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo (BR 147LP, 2021), and the launch of The Music of the Lamista Kechwas: Recordings of the Native Communities of Lamas (BR 163LP), Buh Records presents this new volume dedicated to exploring this fascinating universe of traditional music from the Amazonian jungle. Features extensive information and visual documentation. Compilation and notes by Luis Alvarado. Art by René Sánchez. Also features Eliseo Reátegui y Los Solteritos, Jibarito de la Selva, and Los Hijos de Lamas.
CAT #: BR 163LPLOS ABUELOS DEL WAYKU La Musica De Los Kechwas Lamistas: Registros Sonoros De Comunidades Nativas De Lamas LP
La Música De Los Kechwas Lamistas: Registros Sonoros De Comunidades Nativas De Lamas (The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas) compiles various recordings made by Los Abuelos del Wayku, a traditional group made up of the oldest musicians from the native communities of Lamas: Medardo Cachique, Reynaldo Amasifuén, Misael Amasifuén, Daniel Sangama, Remigio Sangama, and Pedro Cachique. The selection and recording process has been carried out by the Tarapoto musician and researcher Percy Alexander Flores Navarro. These performances seek to recreate the most indigenous musical performance styles of the various musical genres practiced throughout the Lamista Kechwa nation since colonial times, as well as the foreign and national musical trends incorporated by these communities during the first half of the 20th century. Thus, this album aims to be a chronicle of the historical processes that took place in the region, as well as a guide to the cultural diversity of the Peruvian Amazon. Some of the musical genres present in these recordings are: the Christmas Carol brought by the Jesuit missionaries during the 16th century; the Amazonian pandilla and the various musical forms that comprise it since colonial times; the marinera, adapted to the Andean-Amazonian ensemble at the beginning of the 20th century; rock and roll, which was reinterpreted as the Lamista twist in the middle of the last century, and many other musical genres that constitute the repertoire of traditional and popular music of the native communities of Lamas. After the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo (BR 147LP, 2021), and the launch of the anthology Around the Húmisha: The music of the traditional Amazonian groups of Peru (BR 159LP), Buh Records presents this new volume, dedicated to the music of the native communities of Lamas, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of various musical expressions of the Peruvian Amazon. Includes extensive information and visual documentation. Compilation and notes by Percy Alexander Flores Navarro. Art by René Sánchez.
BUREAU B (GERMANY)
CAT #: BB 027LPRIECHMANN Wunderbar LP
2022 restock; LP version. Bureau B reissues Wolfgang Riechmann's Wunderbar, originally released in 1978 by Sky Records and an absolute gem of German electronic music. This album, however, is beautiful and tragic in equal measure, as Riechmann became the random victim of a knife attack just three weeks before the LP went on sale. Wolfgang Riechmann's career as a musician went all the way back to 1969, which was roughly when he met Michael Rother (Neu!, Harmonia) and Wolfgang Flühr (Kraftwerk), who would be his colleagues in the Spirits Of Sound Group. Later on (1973 to 1976) he played with Phönix, before going on to record two albums with Streetmark, who enjoyed great popularity at the time. From November 1977 onwards, he devoted his full attention to the Wunderbar LP. On his first and, regrettably, last recording as a solo artist, Riechmann went eclectic. Distant echoes of the so-called Berlin School (Tangerine Dream, Klaus Schulze, and the like) can be detected on Wunderbar, as well as the clear influence of the so-called Düsseldorf School (Neu!, Kraftwerk, La Düsseldorf) -- not that Riechmann was attempting to copy their styles in any way. While contemporary influences need not be denied, Wunderbar hints at the direction he would take in terms of sound and composition, reflecting a powerful, independent musician's personality, one which would have caused quite a stir, had it been given the chance to unfold. This optimistic music is characterized by simple sequencers and drum patterns, with Riechmann adding his own individual layers of harmony. And then there are the melodies: simple, sometimes to the point of being simplistic, but never naive. Wunderbar is modern, electronic pop, perfectly and permanently frozen in time. Printed inner sleeve featuring rare photographs and liner notes by Asmus Tietchens, one of the original pioneers of electronic music.
CAT #: BB 037LPMOEBIUS PLANK NEUMEIER Zero Set LP
2022 restock; LP version on 180 gram vinyl. In 1983, Dieter Moebius (Cluster) and legendary producer Conny Plank teamed up for the third time, resulting in the Zero Set project, originally released on Sky Records. On this occasion, they were backed up by one of the best drummers on the German rock scene: Mani Neumeier of Guru Guru. Plank, usually more of a background figure as producer, takes an equal share of the limelight alongside the musicians. His supermodern studio is brought into play like an instrument in its own right; Plank explores the full range of audio editing, pushing recording techniques to the limit to achieve maximum brilliance and plasticity. Neumeier uses all of his many years of experience as a drummer, demonstrating the precision and stamina of a drum machine, just infinitely livelier and more inventive. And finally, to Moebius: always one of the patriarchs of German electronic music, a creator of the most bizarre sound happenings, yet never sounding forced or arbitrary. On the contrary, he consistently worked within the context of the tracks themselves and their relationship to each other. The music on Zero Set flows both smoothly and energetically. An important and mystifying chapter in the legacy of Krautrock/Kosmische Musik and a historic moment in German electronic music.
CAT #: BB 038LPCLUSTER Curiosum LP
2022 restock. LP version with color inner sleeve and liner notes by Asmus Tietchens. Originally released on Sky Records in 1981, Bureau B reissues Cluster's Curiosum -- the sixth duo collaboration between Dieter Moebius and Hans-Joachim Roedelius. Curiosum was to mark a departure to pastures new. Little did they know that this would be their last release for the next nine years. Curiosum was launched into an atmosphere of musical turbulence. Electronic sounds had become commonplace in pop music and the voice of Cluster could barely be heard through the noise of a new generation of music. Curiosum is a decidedly tranquil, almost melancholy album -- quiet being the operative word, as Cluster slipped out of the limelight. It was recorded in rudimentary fashion in Austria, now home to Roedelius. This is Cluster music at its most serene, a sense of profound humility running through the seven tracks of the LP. It says a lot about the state of mind of the two musicians, allied to the fact that this was the first time they chose to mix outside of Conny Plank's studio where, in the past, the finishing touches had been applied. Roedelius and Moebius laid their cards on the table for all to see, offering up Curiosum as an honest, unadorned selection of tracks, free of artifice and preconception. The album represented a return to the virtues of their early work (when Cluster was written with a "K"), random and spontaneous. Curiosum is nothing if not a curiosity, wholly resistant to the cacophonous zeitgeist of the early '80s, stripped down and keenly focused on perfect shapes. This is Cluster's swan-song to the past.
CAT #: BB 329LPHELDON Un Reve Sans Consequence Speciale LP
2022 restock; LP version. Bureau B present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released in 1976. Heldon's Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Indeed, Heldon's fifth album, Un Rêve Sans Conséquence Spéciale, was named after a live bootleg of a King Crimson concert. Pinhas first met Fripp in 1974, and the pair became friends and have remained in contact ever since. Pinhas was even offered a deal with E.G. Records, the company that oversaw King Crimson alongside other successful groups like Roxy Music and ELP. "That was a dream," says Pinhas. "But when you are 22, you are in a hurry. They asked me to wait one or two years before joining the team. I couldn't wait two years!" Instead, Pinhas launched his own label, Disjuncta, which he later sold to purchase the Moog synthesizer that would make a huge difference to Heldon's sound. Heldon's output also drew from radical science fiction (Philip K. Dick, Norman Spinrad, etc.) as well as philosophy: the sleeve features a quote from Pierre Klossowski's Nietzsche and the Vicious Circle (1969). Heldon never represented a mere facsimile of Pinhas's musical touchstones: King Crimson, Jimi Hendrix, Miles Davis, or Frank Zappa. Heldon was always its own beast and by 1976 it was thriving and roaring like never before. More work was being completed in a proper studio, the Moog helped strengthen the sound and direction, and Pinhas's rotating cast of collaborators was solidifying into something resembling a regular lineup, with François Auger on drums and Patrick Gauthier on synthesizers. The result was a darker, heavier, and more intense sound. The LP opens with the prog-gone-skronk onslaught of "Marie Virginie C", sounding rather like Robert Fripp being sliced into bloody chunks in Thurston Moore's basement. Auger is the star of "Elephanta", in all its Moog-assisted polyrhythmic glory. On side two, "MVC II" offers six minutes of sinister dystopian squelch rock. It's followed by "Toward The Red Line", an epic piece conceivably serving to connect the dots between Hawkwind's most freeform passages and the Detroit techno innovations of the coming decade.
CAT #: BB 340LPROEDELIUS Tape Archive Essence 1973-1978 LP
2022 restock; LP version. During the legendary Forst years, Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door now and again. Here he experimented, practiced, allowed his imagination to flow, at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. For the first time ever, this Roedelius audio sketchbook had been digitalized and available to the public in 2014 on a limited three-LP box set called Roedelius Tape Archive 1973-1978. The recordings offer a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, studies in rhythm are also preserved on these magnetic tapes. Since the box set has been sold out for a long time, Bureau B decided to release the essence of those three LPs on a one-disc compilation: Roedelius Tape Archive Essence 1973-1978.
CHERRY RED (UK)
CAT #: BRED 848EPDINOSAUR JR. Seventytwohundredseconds: Live On MTV 1993 12"
"Recorded live on MTV's 120 minutes, March 7th, 1993. The classic, fan-favorite session, re-mastered from the original tapes. Featuring tracks from across their catalog. Never before released! Vinyl only! Captured at the height of their powers during the heyday of the grunge movement that they inspired, J Mascis and Dinosaur Jr perform tracks from their back catalog live on MTV's 120 Minutes."
CIRCUS COMPANY (FRANCE)
CAT #: CCS 055-2LPJAAR, NICOLAS Space Is Only Noise LP
2022 repress; regular LP version. Second edition with amended tracklisting (the track "I Got A Woman" has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on "être," but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with "Too Many Kids Finding Rain In The Dust," Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on "Keep Me There," Jaar's voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on "être." So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast -- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
CAT #: CLEPTO 001LPSLITS, THE BBC Recordings 1977-1981 LP
"A collection of amazing recordings made for the BBC by the almighty Slits at the peak of their power. Ranging from the DIY punk sound they helped shape in their beginnings to more experimental tracks on the later recording this record is an absolute delight to anybody even remotely interested in the history of punk and fiercely independent music, a must!"
CAT #: CT 119LPSCIENTIST Scientific Dub LP
2022 repress; 1995 release. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."
COULDN'T CARE MORE (GERMANY)
CAT #: NT 001LPSTAREAWAY No Life in This Ghost Town 2LP
2022 re-release. Stareaway is Markus Guentner (Kompakt, A Strangely Isolated Place) and Heiko Badje (La Grande Illusion) carefully combining ambient soundscapes, shoegaze-y guitars, melancholic pop melodies and these amazing bodiless vocals to form a deep, subtle and somehow hard to define kind of enchanted music. Their 2013 album No Life In This Ghost Town (mastered by Rafael Anton Irisarri) is now re-released (via Couldn't Care More); seven wonderful tracks, caressing and thoughtful, yet touched by a certain darkness that makes you shiver. Brilliant works that need to be rediscovered. The album-rerelease is accompanied by a spectacular EP with remixes by Rafael Anton Irisarri, Simon Scott (Slowdive), Thomas Fehlmann, and David Westlake (ex-Sneaker Pimps).
CAT #: ERG 004LPLAWALREE, DOMINIQUE First Meeting LP
2022 repress on clear vinyl, in an edition of 500; newly remastered by Rashad Becker. Dominique Lawalrée (b. 1954) is a composer born and based in Brussels. First Meeting is Lawalrée's first archival release to date. Culled from four different albums originally self-published on his private label Editions Walrus, circa 1978-1982, this compilation highlights the composer's unique sense of ambient and minimal composition. Originally considered for release on Brian Eno's Obscure Records, Lawalrée's music is now no longer hidden. In this collection the listener finds the sounds of piano, synthesizers, percussion, Wurlitzer, organ, and voice, all performed by Lawalrée. Using these tools Dominique creates miniature themes that gallop across the speakers in slow motion, stretching our normal sense of dynamics and color, effortlessly widening the stereo plane. On "Musique Satieerique," Dominique pays homage to the influence of Satie with simple repeated piano figures and a lush field of organs and flutes. And on other selections, like "La Maison Des 5 Elements," he takes a more wistful, ambient approach, layering keyboard lines, and invoking found/tape sounds to create a hypnogogic world of his own. Childlike in its playfulness and surreal to the bone, the music spins like a carrousel placed inside the Rothko Chapel. Lawalrée's sense of timbre, tone, and overarching composition is like an impression of a home movie whose charm lies in its knowledge of intimacy, shared by few. An incantation of innocence."a quiet, understated music that is both touching and elegant" --Gavin Bryars."What is most affecting is the feeling of parabolic calm that can emerge from this music, ascending gradually. It's atypically devoid of New-age cliché, closer somehow to a secular revelation than to any protracted or consensus bliss." --Keith Connolly, BOMB Magazine."Part of the charm of Lawalrée's work, and perhaps why he never broke through into broader consciousness, was the obliquely personal nature of his albums, which sometimes felt like improvised sound diaries, or like incremental explorations of deeply individualistic themes... A beautiful rediscovery." --Jon Dale, Uncut."Harold Budd is an obvious reference point, but Lawalrée's brilliantly economical music eschews the grand, systematizing ambitions of most minimalist music, and has a tactility and sense of particular time and place that places it closer to Angelo Badalamenti, Popol Vuh's Hosianna Mantra, or even Broadcast. This may be the first meeting, but hopefully not the last." --Derek Walmsley, The Wire
FAR OUT RECORDINGS (UK)
CAT #: FARO 215LPNASCIMENTO, MILTON Maria Maria 2LP
2022 repress. Far Out Recordings presents the first ever vinyl release of Milton Nascimento's Maria Maria, originally released in 2003 as a double-CD package. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. Along with journalist and song writer Fernando Brant, lyricist Marcio Borges, and his younger brother Lo Borges, Nascimento wrote and produced what would become Milton's milestone album, Clube da Esquina (1972) which shaped the local scene and reflects the essence of "the Nascimento Sound". Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz, and rock. In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and Maria Maria was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. The music on Maria Maria was performed by an impressive group of young Brazilian musicians, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars), and Paulo Moura (sax). Several vocalists, including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums, and metal signifying the field slave tools of the day. "Trabalhos (Works)" runs to work rhythms and whip cracks. "Lília" documents the beating of the slave woman. After "A Chamada" and the triumphant "Era Rei e Sou Escravo", things begin to turn and Milton employs tropical jungle cries to symbolize freedom. "Santos Catholicos x Candomble" represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into "Francisco" and "Pai Grande" and the outstanding "Eu Sou Uma Preta Velha Aqui Sentada no Sol" conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano, and voices. 180 gram vinyl.
CAT #: JD 053EPJOYCE WITH MAURICIO MAESTRO Feminina 12"
This fabled 11-minute+ version of Brazilian icon Joyce's groundbreaking "Feminina" was recorded at Columbia Studios, New York in 1977, for the as yet unreleased Natureza album. Produced, arranged, and conducted by the great Claus Ogerman (Frank Sinatra, Antonio Carlos Jobim, Billie Holiday... the list goes on), Natureza would have ostensibly been Joyce's big break to international stardom, but mysteriously it was never released. With Joyce came fellow Brazilian icons Mauricio Maestro, Nana Vasconcelos, and Tutty Moreno, and Ogerman employed North American jazz legends Joe Farrell, Michael Brecker, Buster Williams, and Mike Manieri. This astonishing version of a true classic gets its first proper 12" release. Rather than make it a single-sided 12", Far Out boss called up Joyce to talk about the recording, recorded the conversation, and pressed it to vinyl on the B side.
FATIADO DISCOS (SPAIN)
CAT #: FD 030LPRADIO DIASPORA Negro Humor LP
Radio Diaspora works on the concept of cultural identity, which is flexible and dynamic. This provocation is generated by referring to all African ancestry moved by the diaspora and its sonorous, vocal, polyrhythmic, and polyphonic codes -- all the ancestral heritage that has spread throughout the world following expropriations, genocide, and slavery -- sampling and amplifying references that become triggers of energetic approaches. A heavy core of representations and senses aims to exorcize through noise and strangeness all secular violence against people of the African diaspora. In the title song of this album, Negro Humor, the respected Brazilian actor Grande Otelo highlights the contradiction of the clown, which awakens joy in everyone but is a sorrowful, lonely figure, ridiculing himself and putting himself in the most embarrassing situations. In "Despacho", Radio Diaspora explores the dichotomy of society by introducing a speech by Brazilian lawyer Hédio Silva Júnior specialized in Afro-Brazilian religion. He questions a rule under discussion in Brazil's Congress that would prohibit the use of chickens in Candomblé and Umbanda rituals. Silva Júnior points out that everyone takes a stand to protect the rights of animals, but the same cannot be said of the defense of young black people and outlying societies. The track "Meia-Noite" evokes a celebrated point of Umbanda, an Afro-Brazilian religious syncretic cult, permeated by free jazz and electronic atmospheres developed by the duo. The other songs on the album are divided into two parts. They feature the voices of North American icons of the black struggle for civil rights: The tracks "A.H.M. Al-Shabazz 1 and 2", amid sonic dissonances, use extracts from speeches by the American leader Malcolm X, and in "Muhammad Ali 1 and 2" you hear quotes from famous interviews given by the boxer and activist. Ali ironizes the questions he asked his mother as a child, why all good and positive things are associated with white. His inquiry is seen as a joke by the white audience present at the TV show, which laughs off Ali's scathing criticism. Radio Diaspora uses art as an instinctive force to reject submission to traditions and culture as taming. Negro Humor is the tenth album by the duo of Romulo Alexis and Wagner Ramos. "The (album) sound means to exorcise racism out of our minds and make us ready to act." --Rômulo Alexis. Includes insert.
CAT #: FD 031LPQUINTAL DE CLOROFILA O Misterio dos Quintais LP
Reissue, originally released in 1983. O Mistério dos Quintais was released originally in 1983 via some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. On their album O Mistério dos Quintais, the two brothers presented a Brazilian hippie folk full of psychedelic touches a times with flanger effects, reverb, and synthesizers, a times totally raw with medieval melodies, flutes, and strings. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one. Includes insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone.
FEEDING TUBE RECORDS
CAT #: FTR 658LPCOTTON, ALISON The Portrait You Painted of Me LP
Orange vinyl (US exclusive). "Here we have the third solo LP by London's Alison Cotton, following on previous successes, All Quiet at the Ancient Theatre (FTR 424LP, 2019) and Only Darkness Now (FTR 564LP, 2020). And as with each of Cotton's projects it is a stylistic advance as well as another example of her dark signature sound. Alison's work with bands is well documented by recordings with Saloon, 18th Day of May, Trimdon Grange Explosion, and her current, ecstatic folk/psych duo, The Left Outsides. But her solo recordings always seem a bit more experimental in terms of song structure and musical texture, as the six tracks on The Portrait You Painted of Me clearly demonstrate. The touchstones of her sound are viola, harmonium, and voice, but these are merged together in all sorts of different ways, creating a rich and thoroughly artastic suite of songs. 'Murmurations Over the Moor,' is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of Northeast England (from whence she hails.) 'The Last Wooden Ship' evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley's Sirens urging listeners to a rocky demise. 'I Buried the Candlesticks' has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. 'That Tunnel Underground Seemed Neverending' is a musical vision of Northumberland's mining culture at the dawn of the 20th Century -- labyrinthine, subterranean, dimmer than night. 'Violet May,' the only 'song' on the album, was inspired by a trip to Vita Sackville-West's Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound, make me think of a post-modern approach to lyrical concerns dealt with by folk singers of the British '60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. And finally, we have '17th November 1962,' inspired by nearly forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison's voice again evoking the Sirens. Damn, what a good spin. As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison's partner, Mark Nicholas. She expressed concern at one point that the album might be a little too heavy in spots for some listeners, but that is a canard. I think one of the main things people relish about Alison's solo work is exactly the somber, exquisite melancholy she creates. This is some serious and remarkable stuff." --Byron Coley, 2022
GARZEN RECORDS (ISRAEL)
CAT #: GRZ 028LPSHEN Tia Tua LP
Shen is a quartet from Tel Aviv, constantly switching between genres while searching for truth and patience in the process. After dealing with urban experiences on their first album back in 2018, Shen has matured and started to explore the power of nature and the dimension of time with their latest offering, recorded at Kibbutz HaOgen, which is located on a kibbutz near Kfar Yona, far from the big cities of Jerusalem and Tel Aviv.
GET ON DOWN
CAT #: GET 51472LPDAVIS, MILES Decoy LP
"This record is self-produced by Miles himself! Without longtime production collaborator Teo Macero, Miles chases new directions with this 1984 recording. Miles allowed keyboardist Robert Irving and guitar legend John Scofield to write most of the material on the LP. The record is dripping with some of the new sounds of synths which makes this a very unique entry in the Miles catalog. Decoy features John Scofield on guitar, Robert Irving on synths and programming, Darryl Jones on bass, Al Foster on drums, Mino Cinelu on percussion, Bill Evans on sax, and guest appearances from Branford Marsalis. Pressed on crystal clear vinyl housed in a gatefold jacket with Japanese stylized insert and deluxe obi strip. Remastered from the original analog tapes."
CAT #: GET 52729LPDEEE-LITE World Clique LP
2022 repress. "Sometimes a single is released that reaches such dizzying heights of success that it becomes a pinnacle of the decade they're indelibly tied to. 'Groove Is In The Heart' by dance-house trio Deee-Lite is one such single. The infectiously quirky, and eminently danceable track is prominently based around samples of 'Bring Down The Birds' by Herbie Hancock, and 'Get Up' by Vernon Burch, among many others, (Courtesy of dual producers DJs Dmitry and Towa Tei) paired with top-tier guest contributions from JB's veterans Maceo Parker and Fred Wesley, background vocals from Parliament-Funkadelic's own Bootsy Collins, and even a guest rap from Q-Tip, not to mention frontwoman Lady Miss Kier's own siren-like vocals. All disparate and disconnected elements, but ones that would come together to form dancehall greatness, and chart-topping success worldwide for Deee-Lite. 'Groove Is In The Heart' managed to reach #4 on the Billboard Hot 100 chart, but excelled at its best on the Hot Dance Club Play chart, where it reached to the #1 spot. On top of its success in America it was a smash internationally, climbing the heights of the charts in the UK, Canada, Australia, and a variety of other countries. It remained in heavy rotation for much of 1990 on MTV as well. As the decades went on, 'Groove Is In The Heart' would be ranked among the greatest dance tracks of all time, as well as one of the greatest songs of the 1990s by VH1, Pitchfork, Buzzfeed, and many more. 'Groove Is In The Heart' was a potent single for Deee-Lite to lead with, but the album bearing it was nothing to slouch at either. The group's debut record, 1990's World Clique was released to major commercial and critical success, owing just as much to its addictive hybrid of seductive retro aesthetics, modern dancefloor flair, and esoteric, socially conscious messaging, on the back of celebratory club staples like 'Power Of Love', 'Good Beat', 'E.S.P.', and of course 'Groove Is In The Heart'. World Clique would reach top 20 charts in the US, UK, and Canada in sales, as well as earn rave reviews from NME, Chicago Sun-Times, Rolling Stone, and Slant Magazine, who called it an 'essential pop album'."
CAT #: GET 56035LPJURASSIC 5 Quality Control 2LP
2022 repress. "Jurassic 5 flexed serious old-to-the-new muscles in the '90s, beginning with their independently released single 'Unified Rebelution' in 1994, and book-ending with their stellar debut full-length: 2000's Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group -- two DJs and producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) -- they brought the late 1970s 'unison MC' style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on 'The Influence' and the catchy, keyboard groove-driven 'World of Entertainment (WOE Is Me),' to deeper album tracks like the lyrical gymnastics of 'Jurass Finish First' and the thought-provoking 'Lausd,' Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, 'Swing Set,' and you have one of the 2000s' most unique and solid full-length platters."
CAT #: GET 908EPCYPRESS HILL Pigs/How I Could Just Kill A Man 7"
"To commemorate the 30-year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's 'Essential Recordings of the 90s' and 'Top 100 Best Rap Albums' by The Source Magazine."
CAT #: GET 909EPCYPRESS HILL Hand On The Pump/Hole In The Head 7"
"To commemorate the 30-year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's 'Essential Recordings of the 90s' and 'Top 100 Best Rap Albums' by The Source Magazine."
GOD UNKNOWN RECORDS (UK)
CAT #: GODUNK 077LPHALIFAX INVOCATION, THE JONNY Acid Bluus Raags: Vol. 1 LP
"... Acid blues punk meets freeform drone raag transcendentalism" Jonny Halifax is an untutored aleatoric free blues outsider. His new collection of sound is an instrumental departure into godless raag brut improvisations, layered, manipulated and sculpted into heavily immersive feral sonic collages. Invocations of a hallucinatory apocalyptic near future. Previously the creator of junkshop blues skronk one man band Honkeyfinger, which then mutated into the gospel fuzz psych of Julian Cope endorsed Jonny Halifax & The Howling Truth with their "slitherin' electro -programmed slide guitar driven mung worship", alongside the ambient drone metal noisescapes of Deathenteredinerror, now The Jonny Halifax Invocation channel heavy meditations on the present into an uncompromising free blues transcendentalism that burn raga-shaped holes into your chakra with searing psychedelic intensity. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3's contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), The Jonny Halifax Invocation build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica, and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Dave Gilmour weep. The blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. Açid Blüüs Räägs: Vol. 1 plays like a psychedelic western movie soundtrack, frenzied electric lap steel guitar suites play to melting cowboy minds. Flaming tumbleweeds blow in slow motion across wide open concrete vistas. Jodorowsky's El Topo meets Ballard's High Rise in an apocalyptic knife edge disintegrating urban landscape. Shut your eyes and conjure the best nightmares you've never had. The Jonny Halifax musical CV also includes studio contributions to releases by Andrew Weatherall's Two Lone Swordsmen, UK metal behemoths Orange Goblin, hardcore thrash upstarts Heck (formerly Baby Godzilla), and pan European psych noise titans Melting Hand.
HEAVY PSYCH SOUNDS (ITALY)
CAT #: HPS 242CDNEBULA Heavy Psych CD
Heavy Psych is Nebula's fifth album, originally released in 2009."Album opener 'Pulse' is the quick, necessary burn of waste paper at the very tip of the joint; in itself, wholly unremarkable, but nonetheless enthralling purely on the basis that it leads the way to much, much better things. Phased guitarscapes, and hollow, echoing vocals, swirling in misshapen musical clouds that breeze through 'The Dagger' and just as that first real hit of Morocco's finest clamps onto your grey matter, 'Aphrodite' kicks in. Dirty, sleazy and sexual, Eddie Glass' whiskey soaked and strained voice oozes between caterwauling guitars and incessant, bludgeoning kick drums -- the part of the joint you savour the most; the reward and further promise combining in a moment of sheer perfection." --The Quietus
CAT #: HPS 242LTD-LPNEBULA Heavy Psych (Orange Vinyl) LP
LP version. Orange vinyl. Heavy Psych is Nebula's fifth album, originally released in 2009."Album opener 'Pulse' is the quick, necessary burn of waste paper at the very tip of the joint; in itself, wholly unremarkable, but nonetheless enthralling purely on the basis that it leads the way to much, much better things. Phased guitarscapes, and hollow, echoing vocals, swirling in misshapen musical clouds that breeze through 'The Dagger' and just as that first real hit of Morocco's finest clamps onto your grey matter, 'Aphrodite' kicks in. Dirty, sleazy and sexual, Eddie Glass' whiskey soaked and strained voice oozes between caterwauling guitars and incessant, bludgeoning kick drums -- the part of the joint you savour the most; the reward and further promise combining in a moment of sheer perfection." --The Quietus
CAT #: HPS 243CDNEBULA Transmission From Mothership Earth CD
Desert psychedelic fuzzsters Nebula are back with Transmissions From Mothership Earth. Eight tracks of pure fuzzness recorded by bass player Tom Davies and produced together with the mastermind Eddie Glass in the Mojave Desert. It's the classic Nebula sound: walls of guitars, riffs that come from outer space, melodic vocals matched with desert grooves... you couldn't ask for more. The band spent the last six months in the studio alone recording and mixing this new psychedelic stoner rock gem! Artwork by Robin Gnista.
CAT #: HPS 243LPNEBULA Transmission From Mothership Earth LP
LP version. Desert psychedelic fuzzsters Nebula are back with Transmissions From Mothership Earth. Eight tracks of pure fuzzness recorded by bass player Tom Davies and produced together with the mastermind Eddie Glass in the Mojave Desert. It's the classic Nebula sound: walls of guitars, riffs that come from outer space, melodic vocals matched with desert grooves... you couldn't ask for more. The band spent the last six months in the studio alone recording and mixing this new psychedelic stoner rock gem! Artwork by Robin Gnista.
CAT #: HPS 243LTD-LPNEBULA Transmission From Mothership Earth (Aqua Blue Vinyl) LP
LP version. Aqua blue vinyl. Desert psychedelic fuzzsters Nebula are back with Transmissions From Mothership Earth. Eight tracks of pure fuzzness recorded by bass player Tom Davies and produced together with the mastermind Eddie Glass in the Mojave Desert. It's the classic Nebula sound: walls of guitars, riffs that come from outer space, melodic vocals matched with desert grooves... you couldn't ask for more. The band spent the last six months in the studio alone recording and mixing this new psychedelic stoner rock gem! Artwork by Robin Gnista.
HINGE FINGER (UK)
CAT #: HINF 8678EPMANNERFELT, PEDER Black Holes, Or How We Lost Solidarity 12"
2022 repress. "Long rumored entry into the Hinge Finger crew from Peder Mannerfelt, following his mind-bending Controlling Body LP a few months back. Having knocked us sideways with his recent output, Peder's HF debut collects four tracks of cross-genre dynamic dynamite. 'Cry To Your Soul' blends some helter-skelter style rave trax with a raw gabba bounce, before 'Clear Eyes, Full Heart' brings in some utterly sick 4x4 bassline tribal flex. Flip side 'Savvy' builds a robotic-eski click to the front while 'The Great Attractor' coats the 12" in some rave slime EVOL style. Truly sick 12" in every sense of the word!" --Bleep, 2016.
HIVE MIND RECORDS (UK)
CAT #: HMR 018CSYASHIMURA, GUSTAVO Living Legend of the Ayacucho Guitar Cassette
Gustavo Yashimura-Arce comes from humble origins in the Ayacucho region of the Peruvian Andes. He started playing guitar in 1987 and two years later he travelled to Montevideo in Uruguay to study music at La Casa de la Guitarra. After spending some years playing classical guitar in Japan, Gustavo returned to Peru in 2004 and began his intense studies of the Andean guitar styles of the Ayacucho region. Later, in 2008 he found the perfect teacher -- 80-year-old veteran guitarist Don Alberto Juscamaita Gastelú, known locally as Rahtako. Through Don Alberto, Gustavo was able to learn songs and styles from across the Andes, though the main focus remained on the traditional styles of the Ayacucho region. The Ayacucho Province of Peru is mountainous and remote and mainly populated by indigenous people of Quechuan descent, with the main language remaining Quechua, or Runasimi ("the People's Language"). The Quechuan people of the Andes remained resistant to Spanish colonization and fierce in their preservation of their culture but on this album, you will hear one of those strange, hybrid artifacts that can arise when cultures meet. The Spanish guitar was taken by the Quechuan people of the Ayacucho region and employed as a new means to convey their traditional music. The melodies you hear are versions of the traditional Huayno melodies usually played on harps, Andean pipes, charango, and mandolin. Gustavo is joined by Luis Sulca Galindo on second guitar and Greys Berrocal Huaya on vocals on four tracks on the album. Hive Mind Records worked with Henkel Bellido (Sounds of the Andes) to bring this beautiful music to light.
CAT #: HMRLP 017LPMD. AFTER HUSSAIN & PAQ Matir Gaan (Songs of the Earth) LP
Matir Gaan is a collaboration between young Bengali migrant, Mohammed After Hussain and Italian electronic artist, Andrea Rusconi (aka Paq). The resulting album delightfully combines the ancient folk songs of Md After's homeland with Paq's cosmic synth exotica. Mohammed After Hussain escaped Bangladesh in 2015 and arrived in Italy in 2017 after a long and dangerous journey across the Mediterranean from the violence he found in Libya. In Italy he found safety and hospitality as an asylum seeker in Rimini's Associazione Ardea, where Andrea is involved with "Ardea Recordings" -- a project aiming to create an archive of songs, stories and sounds by some of the people who spent some time with Ardea's refugee program. Md After was invited to sing and play the folk and village songs he knew on the harmonium and pakhawaj (two headed drum) while Andrea immersed himself in the songs providing a bed of warm Crumar synth and Veena drones to create a finished album of totally unique renditions of the mystic Baul folk songs known so well by people across the Bangla speaking regions of India. The Bauls are a famous group of wandering minstrels from the region of Bengal whose culture is derived from the teachings of the early Sufi mystics and Hindu Fakhirs. The Baul devotees are considered to be mad, or possessed, with the love of God. While transcending religion the Baul compositions celebrate celestial and earthly love and expound the key philosophy of "Deha tatta" or truth in the body, epitomized by the aphorism "whatever is in the universe is in the body." They reach for divinity here in this world and they seek to access it through music and dance. They seek spirituality in the music, they live for the music, wandering from village to village offering ecstatic sound waves in exchange for sustenance. Their presence remains an important part of village life in Bangladesh, and this is why Md After knows the songs despite the fact he would not consider himself part of the Baul ascetic tradition. A wonderfully psychedelic album with unique interpretations of ancient, mystic songs from the earth. Includes printed inner sleeve featuring sleeve notes and lyric translations by Brian P. Heilman.
HONEST JON'S RECORDS (UK)
CAT #: HJR 084LPBILUKA Y LOS CANIBALES Leaf-Playing In Quito, 1960-1965 2LP
The out-of-this-world recordings of Dilson de Souza, leading a kind of tropical chamber jazz on leaves from a ficus tree. Dilson was from Barra do Pirai, in the Brazilian countryside; moving to Rio as a young man, where he worked in construction. He recorded his first record in 1954, for RCA Victor. He travelled to Quito around 1957, soon hooking up with Benitez & Valencia, who introduced him to the CAIFE label. Dilson played the leaf open, resting on his tongue, hands free, with his mouth as the resonator. Though a leaf can also be played rolled or folded in half, this method allowed for more precision, a tethered brilliance. A picked ficus leaf stays fresh, crisp and clean-toned for around ten hours. He could play eight compositions, four at each end, before it was spent. Biluka plays trills and vibratos effortlessly, with utterly pure pitch, acrobatically sliding into notes and changing tone on the fly. In "Manuco", he leads Los Caníbales into a mysterious landscape on a rope pulled from an Andean spaghetti western, and corrals and teases them into a dialogue. A leaf, a harp, a xylophone, and a rondador -- joined in "Bailando Me Despido" (Dancing As I Say Goodbye) by a saucy organ, doing sloshed call-and-response. In "Anacu de Mi Guambra", Biluka shows his full range of antics, hiccupping melodically over a set of magic tricks. His expressiveness was boundless. The eucalyptus leaf is popular among Aboriginal Australians. In China, they've played leaves for 10,000 years. In Cambodia, people play the slek, a leaf plucked from either the sakrom or the khnoung tree. But ain't nobody like Biluka, ever.
HONEY PIE RECORDS (ITALY)
CAT #: HONEY 050LPSMITH, JIMMY A Date With Jimmy Smith Vol. 1 LP
Reissue, originally released in 1957. Jimmy Smith was the most inventive and technically skilled organist of the bop generation. A Date With Jimmy Smith features performances recorded in the same year with Smith heading a sextet including a bunch of Blue Note heavyweights such as Donald Byrd (trumpet), Lou Donaldson (alto saxophone), Hank Mobley (tenor saxophone), Art Blakey (drums), plus a guitar-organ-drums combo with guitarist Eddie McFadden and drummer Donald Bailey, and as one would expect with those names this is groovy jazz at its best. Recorded on February 11 and 12, 1957.
CAT #: INC 027CDVAN WISSEM, JOZEF Behold! I Make All Things New CD
Behold! I Make All Things New is all instrumental and consists of sparse works for lute and electronics. There are no vocals. It is more a return to the minimal neo-classical style of Jozef Van Wissem's early work. Written and recorded in lockdown in Warsaw and Rotterdam between 2019 and 2021. Van Wissem lived in Brooklyn since the early nineties. He left New York because of Trump's immigration policies. There was no need for singing. Personnel: Jozef Van Wissem- lute, electronics. CD version includes one bonus track.
CAT #: IF 1067CDUTO Touch the Lock CD
UTO are a duo from Paris who sound like they might be from outer space. Chic and alien, rhythm-centric yet diaphanous and ghostly, they are a group that thrive on contrasts and embrace paradoxes. Described variously as witch pop, dream pop and trip hop, they mine a rich seam of '90s British music from the peripheries, with added je ne sais quoi. Debut album Touch The Lock sees them present to the world their singular vision for the first time. It's an album grounded in reality that communes with hyperreality, unlocking the box where hard-to-reach emotions and thoughts often lay dormant and untapped.
CAT #: IF 1067LPUTO Touch the Lock LP
LP version. UTO are a duo from Paris who sound like they might be from outer space. Chic and alien, rhythm-centric yet diaphanous and ghostly, they are a group that thrive on contrasts and embrace paradoxes. Described variously as witch pop, dream pop and trip hop, they mine a rich seam of '90s British music from the peripheries, with added je ne sais quoi. Debut album Touch The Lock sees them present to the world their singular vision for the first time. It's an album grounded in reality that communes with hyperreality, unlocking the box where hard-to-reach emotions and thoughts often lay dormant and untapped.
CAT #: KR 094LPKONSTRUKT & PETER BROTZMANN Dolunay 2LP
The ongoing series/tradition of a Konstrukt release in August this time returns to the early beginning: the overdue double vinyl reissue of the Turkish free-formers' studio meeting with the German Free Jazz titan Peter Brötzmann from 2008. As written in several info sheets before, the Istanbul-based collective led by multi-instrumentalist Umut Ça?lar (also member of Karkhana) and reeds player Korhan Futaci has since its formation in 2008 created an impressive catalog including collaborations/performances with significant musicians like Keiji Haino, Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth or Alexander Hawkins -- and Peter Brötzmann. The German free jazz titan was invited to the Deneyevi Studio in the Turkish capital in November 2008 where they recorded Dolunay, an album that was released three years later on a small label in Turkey only. Back then a quartet with drums and percussion, guitar, reeds but no bass player, Konstrukt and their iconic guest took off on a session full of fire and fury: shrieking reeds, thundering drums, and -- free jazz of the wildest, most energetic and cathartic (afterwards) kind! Just as they did a few months before (May 2011) in a former church as documented on Eklisia Sunday (HOL 095LP, 2016) and then once more in February 2014. Remastered for vinyl by Kassian Troyer at Dubplates & Mastering, Berlin, Dolunay is now finally available as double-LP and it shouldn't be missing in any proper jazz collection. 180 gram vinyl; includes download.
LANTERN REC. (ITALY)
CAT #: LANR 016LPTALISMAN Dole Age LP
The city of Bristol has undoubtedly a rich reggae heritage. The criminally neglected Talisman finally benefits of a long overdue release, collecting their first efforts plus a series of extra tracks. You'll get their first two singles released on Recreational Records -- Run Come Girl/Wicked Dem and Dole Age/Free Speech, both released in 1981 -- plus a selection of five, long-lost contributions. Originally formed in 1977 as Revelation Rockers, a name they soon changed, Talisman was considered the top reggae act in town alongside local contemporaries Black Roots. The band -- popular for their intense live shows -- opened for such glorious and diverse acts as Burning Spear, The Clash, and The Rolling Stones. This proper release on vinyl allows a new generation of fans to catch with their original style. Talisman certainly shows a different side of the UK reggae flourishing scene -- think about Aswad, Steel Pulse, and Misty In Roots -- putting Bristol back on the map. Fully remastered and licensed. Edition of 500.
LEWIS RECORDINGS (UK)
CAT #: LEWIS 1094EPSKINSHAPE Arrogance Is The Death Of Men/The Eastern Connection 7"
"Taken from Skinshape's Arrogance Is The Death Of Men album For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. 'Arrogance Is The Death Of Men' is the title track of Skinshape's sixth album. The laidback song features Skinshape aka Will Dorey on vocals. Poignant lyrics intertwine with fine musicianship on this dreamy track. It is backed by the aptly named 'The Eastern Connection' fusing world sounds with tight drums from Ivan Kormanak. An instrumental track, is has classic Skinshape running through it."
CAT #: LEWIS 1097EPSKINSHAPE Another Day/Watching From The Shadows 7"
"Taken from Skinshape's 'Arrogance Is The Death Of Men' album For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo Gentle guitars underpin Dorey's vocals on this laid back song that brings hope to us all. Slide guitar towards the track's close and multi layered backing gives the track a Californian sunshine feel. Returning to the sounds of 'I Didn't Know' and his Filoxiny album 'Another Day' is already a fan's favourite. The b-side is a flute driven dreamy affair with Dorey's vocals once more punctuated by guitar and a subtle but catchy drum beat. This double header 7" closes the book on Skinshape's Arrogance Is The Death Of Men album preparing the world for album number seven later this year."
LIFE GOES ON RECORDS (ITALY)
CAT #: LIFE 016LPMOPS, THE Psychedelic Sounds In Japan LP
Life Goes On Records present a reissue of The Mops' Psychedelic Sounds In Japan, originally released in 1968. Welcomed re-issue of this sough-after Japanese masterpiece, just released during the 1968 turmoil. The Mops are one of Japan's best known "group sounds" bands, particularly noted for their psychedelic period. The group was founded in 1966 by high school friends Mikiharu Suzuki (drums), Taro Miyuki (guitar), Masaru Hoshi (lead guitar), and Kaoru Murakami (bass), playing mostly instrumental rock. Their debut album is still considered a cornerstone of the so-called proto-garage revolution. Their flower-power is revealed through a cosmic artwork, ethnic clothing, fuzz guitars and sitar playing. The album includes covers of the Airplane's hits "Someone To Love" and "White Rabbit", the Doors' "Light My Fire", the Animals' "San Franciscan Nights" and "Inside Looking Out", as well as the Mops theme song "I Am Just A Mops".
LITTLE BUTTERFLY RECORDS (URUGUAY)
CAT #: LBR 074LPPAHLEN, MARIANO GALLARDO Los Suenos De Los Otros 2LP
Los Sueños de los Otros is an elegant and ambitious work, driven with conviction to fruition. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. Los Sueños de los Otros is the first solo album by Mariano Gallardo Pahlen. The songwriter, producer, singer, and multi-instrumentalist, composed and recorded practically everything that is heard throughout the ten songs. Raised in a vast artistic universe, with a lot of movies and music constantly playing, he created a debut album that reflects a variety of influences that combine and blend to conceive a true fingerprint. It is an elegant and ambitious work, driven with conviction to fruition. Thus, in the breadth and ambition of his debut, there is room for images, films, questions, conclusions, references, sounds, and landscapes arranged in such a way that they feel timeless, as never seen but known since ever. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. A huge album that Mariano Gallardo Pahlen built alone, to find out who he was, who was there, in the middle of all those layers. To find out and be reborn. This debut should be celebrated for fulfilling the premise, not simple at all, of every first album: to establish a new voice that seeks to be heard in a memorable way.
CAT #: MMS 047LPEMBRYO Auf Auf LP
2022 repress; LP version. "The lauded krautrocking, global groove ensemble's first album on maverick producer Madlib's label. The late Christian Burchard, who founded the Embryo ensemble in 1969, loved the slogan Auf Auf, German for 'Up, Up', or 'Keep On Going'. Anyone with anything more than a passing interest in the German krautrock scene of the 1970s and 1980s knows that Burchard followed that intent, all around the world, tirelessly seeking out new sounds and inspirations and creating a catalog of music unlike most anything else the world has ever heard. Madlib has often said Embryo is his favorite rock band. Of course the hip-hop-producer-with-the-
CAT #: MARIONETT 019LPRAZEN Regression LP
"Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuosic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery. The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it's Brecht and Kim's outlook and imagination beyond musical references that's the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings -- with the philosophy of embracing playfulness and exploration through the lens of a child's eye. Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen's previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula. The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen's fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone -- one that can be reached by riding sound waves that transcend the past, future, and present. Razen on this occasion is: Brecht Ameel: harmonium, celesta Kim Delcour: winds, reeds Will Guthrie: percussion Paul Garriau: hurdy-gurdy on Moon, Aether, and Nebula."
CAT #: MGART 111CDASH RA TEMPEL Ash Ra Tempel CD
2022 reprint. "Ash Ra Tempel's stunning debut from 1971. Ash Ra Tempel was the cult band of guitarist and experimental musician Manuel Goettsching. They are considered one of the pioneering bands of the German cosmic rock, avant-garde, electronic music scenes. Their self titled debut is considered one of the founding documents of 'Krautrock.' Featuring two 20 minute long, guitar heavy jams, this one is still influencing bands like Acid Mothers Temple, Bardo Pond, and more."
MONO-TONE RECORDS (FRANCE)
CAT #: MT 053LPNERVOUS SHAKES Walk Like A Lover LP
A perfect mix of early Real Kids/New York Dolls/Richard Hell rock n' roll and girl groups/Sylvain Sylvain dark romanticism and pop sensibility romanticism. Nervous Shakes are the real thing. Genuine social misfits with a message of liberation. Brussels' finest rock n' roll band. 12 songs with rockin' riffs and catchy hooks, 12 songs to dance crazily and fall madly in love to, 12 songs to Walk Like A Lover!
CAT #: MT 055LPPAPER LIPS The Sound of Sound LP
First psyche solo album from The Baron Four's Mike Whittaker. Far from his previous English "Rhythm n' Beat" à la Milkshakes, early Kinks, he dwells here into the spaced-out sound of the Spacemen 3/Spiritualized/Brian Jonestown Massacre. Slow motion tremolo and psyched fuzz guitar, languid vocals, and floating drones. Nine original songs and a cover of the 13th Floor Elevators' "Splash 1".
MUNSTER RECORDS (SPAIN)
CAT #: MR 7346EPPAJARES/MARTA BAIZAN + MIGUEL RIOS + LOS IMPALA, ANDRES Dracula Yeye/Caperucita Yeye 7"
Mainly known for his career as an actor, especially during the post-dictatorship years and through his "soft-erotic" comedy films, the popular Spanish comedian Andrés Pajares also recorded several records since the mid-1960s. Among them, "Dracula Yeyé" is the song that has conquered selected dancefloors worldwide and has been on the wants lists of '60s sounds collectors and DJs for years. A rare artifact that was originally released in 1968 and whose original copies are very scarce and currently fetch exorbitant prices in the second-hand market. The later version recorded by the Spanish band Doctor Explosión in the '90s helped to make this record better known so that has already achieved the status of Spanish garage-yeyé holy grail. The single is completed with another fun and surprising yeyé song on the B-side that could well be the main track of this release since it brings together some of the best artists of the Spanish-sung yeyé scene of the '60s: singers Marta Baizán, Miguel Ríos, and the Venezuelan garage band Los Impala. All of them were the uncredited artists involved in this recording that was originally released as a children's record, with the musicalized narration of the classic tale "Little Red Riding Hood" that these musicians turned into a stunning garage-beat hit. Both songs are reissued here on a 7" single for the first time.
CAT #: MR 7352EPEMPIRE Easy Life/Enough Of The Same 7"
Empire was an offshoot of Generation X, and their only LP Expensive Sound remains an obscure (yet highly rewarding) listen. Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, Expensive Sound was out-of-step with the climate of commercial music. Their music was raw, bare, warm -- distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, Expensive Sound does what great albums tend to: preserves a specific moment in time. While Expensive Sound may be better known for the bands it inspired -- the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi -- they deserve appreciation on its own merits: one of the finest guitar pop records of the era. These two previously-unavailable-on-
NE'ASTRA MUSIC GROUP
CAT #: NMG 5763LPSLUM VILLAGE Fantastic Volume II LP
2022 repress. "After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may 'single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths."
NO LABEL (EUROPE)
CAT #: SK 2021LPIGGY AND THE STOOGES Live at Richards, Atlanta, GA, October 1973 LP
Live at Richards, Atlanta, Georgia, October 1973. Mick Rock: photography. Marc Z: executive producer.
CAT #: NON 053EPFRIEDMAN & JOAO PAIS FELIPE, BURNT Automated Music Vol. 1: Mechanics Of Waving 12"
Since 2018, João Pais Filipe (drums) and Burnt Friedman (electronics, synth) have investigated into automatic pattern -- composition rooted in doubling and halving; the unimpeachable laws of motion. The offer of freedom can be seen as a way to get in touch with necessity. On Mechanics Of Waving the attempt is made to succumb to such a mode of action, the drilling of a method, not through individual cunning or displayed musicianship. Through constant practice Friedman and Pais discover the principles of rhythmic phenomena while dis-associating the music from cultural idioms. Inspired by rare infrasound -- ratios ranging from 11 to 23, Nonplace releases the results of a four years long operation. Drums recorded and engineered by José Arantes. Mastered by Kassian Troyer, Dubplates & Mastering.
CAT #: NOTON 056LPALVA NOTO HYbr:ID Vol. 1 LP
2022 repress. LP version. HYbr:ID Vol. 1 is the first installment of a new series of Alva Noto's works bringing together heterogeneous composition methods. HYbr:ID Vol. 1 captures the music commissioned for the score of "Oval", the choreographic piece directed by Richard Siegal and performed by the Staatsballett Berlin at the Berlin State Opera in 2019. The process of creating HYbr:ID Vol. 1 was defined by the search for a form to bind astrophysics phenomena, fiction, and performance movements. Its narrative is inspired by cinematic visual techniques and static images portraying scientific events which also inspired the titles of the nine compositions. The music possesses a dilated rhythmic base contributing to the images of gravity and spatiality. At points static is used with an ornate, delicate intricacy. The album's sonic spectrum builds with deep sub-bass, gloomy sonics, spacious sound design, and inorganic ambiance that is gently coerced with artistic finesse. The nine compositions are accompanied by graphic notations informed by the album's sonic and acoustic codes. Album art designed by Carsten Nicolai. Nibo mastering by Bo @ Calyx.
CAT #: OMM 560086LPAMON DUUL Paradieswarts Duul LP
LP version. Ohr present a reissue of Amon Düül's Paradieswärts Düül, originally released in 1971. In 1968, the Münchner Kommune, formed in 1967, had applied to Rolf-Ulrich Kaiser, the organizer of the Essen Songtage, for a gig there. When the Düüls arrived in Essen, already two bands of this name in the meantime, since three members had split off and now called themselves Amon Düül II. Paradieswärts Düül was released in 1971, it's the third album of this outfit. Transferred from the original analog tapes at Dierks Studios and carefully re-mastered.
OUR SWIMMER (GERMANY)
CAT #: WELLE 109LPAYLER QUARTET, ALBERT The Hilversum Session LP
Reissue, originally released in 1980. Our Swimmer presents the first official vinyl reissue of The Hilversum Session in over thirty years. Licensed from Hat Hut. Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal -- and well documented -- year in the free jazz artist's career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity (ESPDISK 1002CD/LP), Ayler's first record for the legendary ESP-Disk' label, that summer. Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like "Spirits" and "Ghosts" the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz.
CAT #: WELLE 111LPDEUX FILLES Silence & Wisdom LP
Reissue, originally released in 1982. Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The. Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker's career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out. Silence & Wisdom -- the duo's 1982 debut -- is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echo-ey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley's From Gardens Where We Feel Secure (1983).
CAT #: WELLE 112LPDEUX FILLES Double Happiness LP
Reissue, originally released in 1983. Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The. Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker's career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out. Double Happiness is the duo's second album, originally released in 1983 on their own imprint, Papier Maché. Full of meandering guitar and with a more ominous tone than the debut, the album is recommended for fans of Durutti Column and Thomas Leer & Robert Rental's The Bridge (1979).
OUTSIDER (ITALY) (ITALY)
CAT #: OUTS 001LPWARSAW Warsaw LP
Warsaw was the planned debut album by the English post-punk band Joy Division, while they were briefly associated with RCA Records. Recorded in May 1978, it comprised eleven tracks now known collectively as the RCA Sessions. However, the band were disappointed with the label's post-production work and the deal fell through, the album being scrapped. Four of the songs recorded during the RCA sessions had previously been recorded at the end of 1977, and it was these older recordings that the band would release the following month as their debut An Ideal for Living EP.
CAT #: PERL 070EPPORTABLE Knowone Can Take Away 12"
2022 repress, originally released in 2008. Alan Abrahams, that's the man behind Portable, born and raised in South Africa, where he started to produce music in the '90s. In 1997 he moved to London. After several releases on labels like Context or Background, he started his own imprint Süd Electronic around 2002. Another project named Bodycode was born and found a home at USA-based Spectral, the sister label of Ghostly. His first Portable album was released at the end of 2007 through Süd Electronic. Abrahams' first release for Perlon is this incredible deep 12" entitled Knowone Can Take Away. Two songs for eternity.
CAT #: PERL 073EPBABY FORD Gravy Train 12"
2022 repress, originally released in 2009. Outstanding tracks by London-based icon, Baby Ford. As usual, made for eternity.
PHARAWAY SOUNDS (SPAIN)
CAT #: PHS 011LPSHAHRAM Shahram LP
LP version. On 180 gram vinyl with insert. You know how record nerds are. They'll gladly tell you that a dawdling Moldovian choir of 70 year-old grandmothers is the next brick in your psych-funksplosion journey. But Shahram Shabpareh is the real thing. Colorful arrangements of blurting horns, evil bass grooves, cheesy organs, and thick strata of overlapping percussion instruments going off like microwave popcorn. As the leader of an Iranian '60s garage band, The Rebels, and later a '70s solo singer, Shabpareh was never happy just tossing a few moves from Abba in front of whatever was on the local charts already. He wrote and recorded hard rock and funky piano riffs that were built bulldozer-tough and would've stuck out in an American trailer park or a London pub just as easily as they did in Tehran. Not that he wasn't afraid to put someone else's idea to good use, as he certainly makes superb use of The Kinks' chords from "You Really Got Me." It's more that Shahram's rock cojones have caused him to make blistering music again and again over the years, with little regard for where it comes from.
CAT #: PLANAM 019LPVOGEL, MICHEL Ronde matutinale à Amillis/Berenice LP
2022 restock. Planam proudly presents the second LP by the artist and sound sculptor Michel Vogel. Born in 1941 in Strasbourg, France, Michel Vogel's artistic activities started in 1960 when, as a painter under the influences of Antoni Tàpies and Jean Dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-European music and Olivier Messiaen. His research developed with new sculptures and the creation of his own resonating metal instruments. His friends of the minimalist group, and especially the Fluxus artists, supported and pushed him to carry on his acoustic explorations while his sonic creations got closer to the music of John Cage, Philip Corner, Morton Feldman and Giacinto Scelsi. After the deep, cosmic night-music of Une petite music de nuit (Vogel's first LP) Planam decided to issue two more early-morning oriented realizations, or "Ronde mattinale à Amillis" and "Berenice." These alpha-wave improvisations for "prepared" gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions. Features a full-color space cover and inner sleeve.
CAT #: PLANAM 021LPMENSTRUATION SISTERS Puppet Island 2LP
2022 restock. "Day 13. The green hell of the jungle stretches around us at all sides. I feel like I am being driven mad by the constant suffocation of its hot and terrible embrace. Everywhere, awful vegetable life fights for supremacy. The nights are more terrible for the noise and darkness.Day 14.Two of our bearers have fled taking most of our dwindling supplies with them. At least there is water to be found in the streams and lagoons but it is filthy and brown and if imbibed unboiled gives one terrible stomach cramps and diarrhea. The scotch and tobacco are gone and we chew coca leaves for the small comfort they afford.Day 15.Jenkins went mad last night. He is nowhere to be seen now. We hear occasional cries from the North which can only be him.Day 16.We found the ruins of an abandoned village today. There were what appear to be drums, much like those found in the Congo, hanging from trees surrounding the village. We saw piles of banana skins amongst the abandoned grass huts. In the very middle of the settlement we found a large flat round rock with a pile of hair, a good three feet high, on it. After a good deal of debate Filbert and I decided that the hair was of human origin.Day 17.We are restricting our diet to a small handful of cashew nuts each morning as we rise. We found several more hair mounds in the felled grounds surrounding the village. These seem darker and more like animal hair than the mound we discovered yesterday.Double LP masterpiece in full colour gatefold sleeve, issued in an edition of 280 copies."
PLAYGROUND MUSIC (SWEDEN)
CAT #: PGM 162LPDINA OGON Dina Ogon LP
Dina Ögon's self-titled debut album. A collection of musical fantasies, permeated by an irresistible feel. Dina Ögon take you with them in a Cadillac going 40 mph straight toward the summer night sun. You will not have heard anything like it in a very long time. The band are experts at what they do. They do their thing, no messing around. They glue it together. One of them thinks nice shoes are important, another one thinks of gasoline and leather. Not as in black, studded leather, but rather soft, bright leather with a flowery, wood-like scent, and gasoline in a nice-looking bottle. No scent. They put a piece of themselves in good company into it. Reflections and thoughts. Ambition and curiosity. The lyrics and the music are for all people of every era. For your eyes, for all of us, we who are one with each other. For those who never take responsibility and for those who take too much. A lovechild of Fleetwood Mac, Khruangbin, obscure Motown singles, and hip-hop duo Eric B & Rakim, seasoned with a bit of Stevie Wonder, Elis Regina, and Ted Gärdestad. The mixture of influences -- from psychedelic rock to glittery pop, and onwards to funky soul -- says something about the band's base. Check out the album's closing track "Ficktjuven" for a clear example. Psychedelic and playful with choirs in a way you could never have imagined. Yellow vinyl.
RADIATION RECORDS (ITALY)
CAT #: RADCD 008CDDISCHARGE Early Demos - March/June 1977 CD
Radiation Records presents the very early Discharge 1977 demos on CD. The whole record screams of the early days of young, snotty, pissed off punks filled with teen angst. If you're a huge Discharge completist want to see the very start of this hugely influential band, or if you are really into raw, primal '77 punk sound, you should check this out. A cool document from the very beginning of what was to become a legendary influential group. Digipak with obi strip.
RADIATION ROOTS (ITALY)
CAT #: RR 345LPSMITH, SLIM My Conversation (1967-1973) 2LP
One of the best-loved reggae singers of all time, Slim Smith. Responsible for many perennial hits that have remained popular with fans since their recording in the late 1960s and early '70s, Slim Smith achieved a lasting influence that trumps the brevity of his vocation and the terribly tragic death that cut everything short. This retrospective includes tracks from Slim Smith & The Uniques period such as "Let Me Go Girl", "My Conversation", and "Girl Of My Dreams". These immortal gems and more are collected on the first record of this double-disc set, giving clear indication of the group's tightness and Smith's exceptional ability in the lead. The second disc collects plenty of examples of his solo career, beginning with a tasteful version of "Keep The Light", "Love Power", and "This Feeling". The rhythms of many of Slim's best-loved records have been recycled countless times over in subsequent decades, keeping his spirit very much within our contemporary musical landscape.
CAT #: ROAR 040LPSUN RA & HIS ASTRO INFINITY ARKESTRA The Intergalactic Thing 2LP
2022 restock. One might think, with a discography as extensive as the one that Sun Ra boasts, that the scope of his work has been fully apprehended by this point, but The Intergalactic Thing demonstrates its seemingly bottomless depths. This is not a complete surprise; anyone who saw Ra and the Arkestra perform will remember the sight of the band quickly shuffling through an imposingly thick stack of sheet music, when Sunny would call the next tune on the program with an encrypted hint on his keyboard. Band members tell stories of spending long hours practicing a newly-written composition, only to never play it again. Here, we have a taste of what's been hidden: drawn from rehearsals at the Sun Ra house in Philadelphia from 1969, The Intergalactic Thing introduces a dozen never-before-heard pieces from Ra's songbook. These are tunes that may have never even made it to the bandstand, let alone the recording studio, along with a handful of reworkings of such Ra classics as "Spontaneous Simplicity" and "The Exotic Forest." Without a doubt, this is one of the most important augmentations to the Sun Ra catalog in many a moon. This double LP set comes in a beautiful gatefold jacket, with extensive liner notes by Ra discographer Robert L. Campbell.
CAT #: RM 4161LPDELAY + AARSET Singles LP
Finland's Sasu Ripatti aka Vladislav Delay has been responsible for some of the most radically positioned rhythmic electronic music of the past few decades. His willingness to abandon measured and progression senses of repetition in favor of multi-layered unfolding pulses has become a touchstone for a new sensing of time. In a similar way, Norwegian guitarist Eivind Aarset has reappraised the harmonic and timbral capacities of his chosen instrument, the guitar, and unlocked new perspectives on this seemingly familiar instrument. His experiments have unsurprisingly caught the ear of similarly restless artists such as Jon Hassell or David Sylvian, with whom Aarset has collaborated. It's little wonder then that these two musicians have gravitated towards one another on Singles. Gravity seems a fitting metaphor too, in that this record is a series of orbits, elemental materials catching onto one another and hurtling the music in directions not really expected, nor traceable. Singles is a record of dimension too, opening outward and collating, sometimes simultaneously, texture and pulse into ultraviolet sonic nebula, as ecstatic as they are enveloping. From moments of fluid improvisation, emerge deeply morphic compositions that fold into and on top of themselves, forging an ever-deepening sense of pressure and energy. At times open, reductive and spatial, this record also has moments of explosive force, an excessive spilling over that speaks to the fearlessness of these two artists. These are unbounded works, pulling ever closer towards the very edges of what is knowable, in sound.Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high-quality craftsmanship that can span from quiet intimacy to searing intensity. His debut as a bandleader on Jazzland Recordings was described by the New York Times as "One of the best post-Miles electric jazz albums," setting a high benchmark that Aarset has consistently met and exceeded, both in the studio and in live performance".Sasu Ripatti's work as Vladislav Delay has charted out a dimension in sound that is wholly cohesive in its divergence from the familiar. Through working with rhythm as an agent of change, rather than repetition, he has been able to devise new methodologies for composition that dissolve expected relationships and in their place he champions sound materials that course outward in unexpected orbits and trajectories.
RUNE GRAMMOFON (NORWAY)
CAT #: RLP 3203LPHEDVIG MOLLESTAD TRIO Smells Funny LP
2022 repress; LP version. With Smells Funny being their sixth album in seven years, the explosive and expansive Hedvig Mollestad Trio have gone from strength to strength, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable in jazz and rock clubs. Smells Funny sees Mollestad truly coming into her own as an amazing lead guitarist as well as a dependable riffmeister. Hedvig first picked up her mother's nylon-strung acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She translated a biography of Jimi Hendrix for a school project and was given her first electric guitar and amplifier as a confirmation present. The members of the trio are from the districts, but Hedvig met Ellen Brekken and Ivar Loe Bjørnstad at the Music Academy in Oslo. Hedvig asked them to join her after she received the Jazz Talent Of The Year Award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon; Shoot! (RCD 2115CD/RLP 3115LP, 2011), All Of Them Witches (RCD 2141CD/RLP 3141LP 2013), Enfant Terrible (RCD 2157CD/ RLP 3157LP, 2014), Black Stabat Mater (RCD 2183CD/RLP 3183LP, 2016) and Evil In Oslo (RLP 2184LP, 2016), all to wide international acclaim.
SONIC CATHEDRAL (UK)
CAT #: SCR 199LPBDRMM Port EP LP
LP version. Orange vinyl. The EP is the Hull and Leeds-based band's first major release since their debut album, Bedroom, which was hailed as a latter-day shoegaze classic when it came out in July 2020. "Port", which was originally released as a single last October, marked a major step forward for the band. Sounding not unlike the Low of Double Negative (2018) or Hey What (2021) deconstructing The Temptations' "I Know I'm Losing You", it's a much darker sounding song; its distorted drones and beats burst into life with frenzied guitar and howls of anguish. "It helped us consider the band in a much more fluid perspective," says bassist and synth player Jordan Smith of the pivotal track. "Swapping instruments and redefining roles gave us time to spend working on new and more intriguing sonic ideas." This new experimental and more electronic approach was expanded as the standalone single release grew, almost accidentally, into a full EP, which features radical reworkings by Daniel Avery (a fearless, all guns blazing techno stomper); Working Men's Club (New Order's "Sub-Culture" meets a long-lost early Warp Records classic); A Place To Bury Strangers (a feedback frenzy of total sonic annihilation); Tom Sharkett from Manchester krautpoppers W.H. Lung (DFA Records goes down to the death disco); Jonathan Snipes from LA-based experimental hip-hop trio Clipping (glitchy beats imploding into a wall of white noise); and Jordan himself, as Mouth Company, who brings proceedings to a close with a slow-mo trip-hop treatment. "To have so many influential artists to us putting their own piece of DNA on what has become such an important track to us is so humbling," gushes Ryan. "It's brand new territory for us, and we just feel so lucky to have everybody involved." The EP is being released ahead of bdrmm's dates supporting shoegaze legends Ride in April and will be followed by their eagerly-awaited second album, which they are currently working on. "I am so excited to embrace the next chapter of bdrmm."
SOWING RECORDS (ITALY)
CAT #: SOW 021LPDRAPER QUINTET FEATURING JOHN COLTRANE, RAY Ray Draper Quintet featuring John Coltrane LP
Sowing Records presents Ray Draper Quintet featuring John Coltrane's self-titled album, originally released in 1958. Recorded in 1957 by Rudy Van Gelder and released in the same year on the New Jazz label, this was a major statement from Ray Draper, who besides working with the likes of Max Roach, Jackie McLean, and Donald Byrd, he has been one of the few tuba players who have made a name as band leader. In particular this quintet date was a courageous step with Draper sharing the frontline with John Coltrane. In fact, the two gave voice to a very unusual combination of tuba and tenor sax. An unprecedented instrumental choice backed here by a tight dynamic rhythm section featuring Gil Coggins (piano), Spanky DeBrest (bass), and Larry Ritchie (drums). Clear vinyl.
CAT #: SOW 027LPMORGAN, LEE Volume 2 - Sextet LP
Reissue, originally released on Blue Note in 1957. This is Lee Morgan's second release as a leader. At the time of the recording (1956) Morgan was just 18 and he was already shining like a mature soloist and solid band leader. Another attracting point in this set is that the most of the tracks are composed by the great Benny Golson. A beautiful hard swinging bop session featuring Hank Mobley on tenor, Horace Silver on piano, Paul Chambers on bass, Charlie Persip on drums -- plus the obscure Kenny Rodgers on alto sax. Originally released on Blue Note in 1957, this album stands as a strong early piece in Lee Morgan discography. Clear vinyl.
SPITTLE RECORDS (ITALY)
CAT #: SPITTLE 137LPSAD LOVERS AND GIANTS The Mirror Test LP
Reissue, originally released in 1987. One of the most respected British bands in the mid-80s post punk era. Sad Lovers and Giants played highly atmospheric music made of melancholic melodies and epic guitar riffs. An overtly romantic attitude that slowly developed towards an even more open (pop) sound approach. Originally released on Midnight Records, The Mirror Test, the band's third studio effort, arrived as the fruit of an updated line-up and a clear step in such direction. A very harmonious collection of songs, some of which are still recognized among the best in the band's entire catalog.
CAT #: TRD 004LPTCHICAI WITH STRINGS, JOHN John Tchicai With Strings LP
2022 repress. "'Afro-Danish saxophonist John Tchicai spent his youth playing alongside the greats- recording and performing in NYC with Albert Ayler, John Coltrane, Archie Shepp and Don Cherry amongst many others. Following a meeting at the Coimbra Jazz festival in 2004, he agreed to record with John Coxon and Ashley Wales. The beautiful resulting album sold out almost immediately on its release in 2005 and is available here for the first time on vinyl. Eloquently balanced between Eric Dolphy and Lee Konitz, his 'wise and lyrical' alto saxophone and bass clarinet playing make this 'one of his finest recordings' [Richard Williams in The Guardian] Essential."
CAT #: VAMPI 261LPLOS KINTOS Los Kintos LP
Vampisoul present a first time reissue of Los Kintos' self-titled album, originally released in 1970. In the late sixties, a generation of young Peruvian musicians, who were fans of tropical sounds, chose Cuban rhythms over the onslaught of boogaloo and Colombian cumbia. This musical movement attracted a legion of young followers, mostly from popular districts of Lima. In 1969, percussionist Domingo Guzmán Villanueva was commissioned by the MAG record label to get together a group to revive Cuban musical tradition. To lead the project he recruited, Francisco "Pancho" Acosta, founder and guitarist of the Compay Quinto. The new group was baptized Los Kintos, in a nod to their desire to carry on playing in the Compay Quinto style. The link between the two groups appears on this first album, as the group's name is written in two different ways: Los Kintos, on the front cover; and Los Quintos, on the back. Recordings began in 1969 and included the stunning "Descarga Kinto", Richie Ray and Bobby Cruz's original "Pancho Cristal" -- renamed here "Pancho Guzmán" -- and Cuban classics from the repertoire of the historic Trio Matamoros like "Lágrimas Negras" or "Mentiras", all with lead vocals by Kiko Fuentes. The success of their concerts would take them on tours across the country, always recognized as outstanding figures of Cuban music in Peru. This reissue brings back an album that marked a milestone in the history of Peruvian tropical music and revives the fame of the group's legendary live performances.
CAT #: VAMPI 262LPKARAMANDUKA Y MELCOCHITA Acabo Con Lima Huyo Pa Nueva York LP
In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP Acabo Con Lima, Huyo Pa' Nueva York was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El Boogaloo De Cantinflitas". Acabo Con Lima, Huyo Pa' Nueva York was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. Songs such as "Vuela Mi Descarga", "Peruvian Boogaloo" and "Peruvian Guajira", pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.
CAT #: VAMPI 45089EPJULIAN Y SU COMBO Enyere Kumbara/INS Rock 7"
Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as Afroantillano, combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). At that time Alfredo Linares was musical director at INS and this album -- the first one Julián Angulo recorded for the label -- bears his influence in the funky "mambo rock" sections (breaks and handclaps galore) and hot Cuban and Latin jazz piano styles that also graced his own records. This is a thrilling double-sider sought after by collectors and DJs because of the funky dancefloor cuts "Enyere Kumbara" (covered by Quantic a few years back) and "INS Rock".
CAT #: VAMPI 45090EPALLISON Y SU COMBO, MARIO Boogashake/Descargando 7"
Peruvian artist Mario Allison was born into a family of musicians. One of his brothers was part of groups like Los Golden Boys, others were percussionists and singers. His North American ancestry familiarized him with the use of English from an early age. He met Coco Lagos through a mutual friend, César González, and the three of them soon became regulars at the recording sessions taking place at MAG studios. The connection between them was formidable to the point of coordinating without the need for prior rehearsals. Mario Allison was a self-taught timbalero and his performances are said to have been full of energy and passion. At concerts it was not uncommon for female audiences to react by screaming and freaking out every time Allison performed a solo. After years working at MAG's studio as session player, in the late '60s he was offered the opportunity of recording his own stuff under his name. Mario Allison then worked on a repertoire focused on boogaloo, descarga and, mainly, pompo. This single comprises two insanely funky dancefloor bangers recorded in that period; hard-to-find boogaloo and descarga tunes from the vaults of MAG records. First time reissue on 7" vinyl.
VINYL LOVERS (RUSSIAN FEDERATION)
CAT #: VL 990168LPCREAM Fresh Cream LP
2022 repress, clear red vinyl. Reissue, originally released in 1966. When the band formed in 1966, Eric Clapton was already fairly well known by this time, having already performed and recorded with the Yardbirds and John Mayall's Bluesbreakers. But it wasn't until Cream that Clapton became a global superstar. Breaking free of the traditional rock n' roll song for a more improvisational/jazz-
CAT #: VPRL 5011LPKING JAMMY Reggae Anthology: Roots Reality and Sleng Teng LP
2015 release. Features Black Uhuru, Scorcher, Nicodemus, Prince Hammer, John Steele, Errol Scorcher, Jammy's, King Tubby, The Fantells, Hortense Ellis, Junior Delgado, and Dennis Brown.
WAH WAH RECORDS (SPAIN)
CAT #: LPS 190LPFRICKE, FLORIAN Die Erde Und Ich Sind Eins - I Am One With The Earth LP
2022 repress. 2017 reissue. Originally released in 1983. Includes insert. "Issued in 1983 as a limited private pressing, Die Erde Und Ich Sind Eins was Florian Fricke's first 'solo' LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland." "You could label it as 'body-space-music' (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect." --Florian Fricke
CAT #: LPS 196LPMEUNIER, ALAIN Voyage Aux Fonds De La Mer LP
2017 release. "Issued on le Kiosque d'Orphée in 1979, Voyage Aux Fonds De La Mer is the only LP by Alain Meunier (not to be confused with French classical music cellist of the same name), and is one of the most elusive collector pieces of the 1970s electronic experimental French scene. This rare sought-after album starts with an instrumental guitar introduction but from the second track onwards it becomes a totally electronic experimental psychedelic trip that can be aligned with the most kosmische side of kraut rock, and of course also with other works by French experimentalists of the era like Pascal Comelade's Fluence or Richard Pinhas' production (including Heldon). Guitar comes in now and then showing also a certain Robert Fripp influence. Instruments used according to the insert sheet that came with the LP are a Korg 800 DV synthesizer, a K.O. Welson Clavinet, effects like a Fender Echo or a Electroharmonix Small Stone phaser and a fuzz pedal, plus Meunier also used a Gibson Les Paul Custom Guitar, a 12-string acoustic Eko guitar and a six-string Morris guitar. First ever vinyl reissue. Limited edition to 500 copies only. Remastered sound."
CAT #: LPS 197LP107-34-8933 Numbers LP
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Numbers was the first reference in the Narco catalog (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 -- in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
CAT #: LPS 198LPRAICEVIK, NIK Beyond The End, Eternity LP
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Beyond The End... Eternity was released in 1971 under the Nik Raicevik monicker as Narco NR102. According to Two Headed Dog, 'Raicevic is clearly still in the early learning-curve stages,' which it a key LP to understand Nik's evolution and setting the path for more evolved works to follow. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
CAT #: LPS 199LPPASCAL, NIK The Sixth Ear LP
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. 1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End..., it adds consistent rhythmic patterns to the mix with the addition of bongos and also explores some interesting chord progressions. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
CAT #: LPS 200LPPASCAL, NIK Magnetic Web LP
2018 release. "If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favored by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks 'this is his masterpiece in all of its acid-laced glory.' Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
CAT #: LPS 201LPPASCAL, NIK Zero Gravity LP
"If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain 'Pascal' listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongos on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceding the Berlin school by some years when his Head LP was released on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene -- the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue four LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read 'Do not listen to this LP if you are stoned'. Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outer and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colors that fit perfectly to the music they contain."
CAT #: LPS 214LPTREGGER, YAN To The Land Of No Return LP
2019 release. "Best known to funk/groove collectors for his '70s library efforts (Freezing Point, The Pop World Of Yann Tregger, Schifters, Catchy, Ducks & Drakes) on such cult labels as L'Illustration Musicale, MTS or Montparnasse 2000 or his late funky disco output via projects like Major Symphony or M.B.T. Soul; French trumpet player/composer/arranger Yann Tregger also devoted time and efforts to delve into electronic sound abstraction when needed. Based around the possibilities of the legendary ARP 2600 synthesizer, To The Land Of No Return was an outrageous and nightmarish collection of sound vignettes that pushed the instrument's capabilities to the limit. Thrilling, uneasy, surreal, spellbinding or just plain spaced out -- an album 'whose theme is the departure of a psychedelic train on a trip with no return to a lost world, leading its only passenger to unreal adventures' according to composer's words. An essential slice of musical lunacy coming from the most experimental fringes of the French library world! First time ever reissued on vinyl, remastered from the original tapes in a gimmick cover and a limited edition of only 500 copies!"
CAT #: LPS 216LPATHENIANS, THE Steppin' Out With The Athenians LP
2018 release. "The most popular and productive line-up of the Athenians beat group came together in Edinburgh in late 1963 and comprised Rick Alcorn (bass), Ally Black (guitar), Keith Henderson (guitar), Arthur Mackey (drums) and Ian Orr (vocals). After a deep delve into the catalogues of Sue, Chess, Atlantic, Motown etc. a pretty sassy outfit became the exponents of some very acceptable R&B/rock. Having now acquired a fan club, a manager and a large following, the band were playing seven nights a week, two of these as residents of the famous Gamp Club, allegedly their second home. Although only part-time, they were relishing their situation especially the attention coming from the student fraternity at Edinburgh University and soon they'd be performing with Manfred Mann, The Hollies, The Animals, The Pretty Things, Diana Dors (what?) and many, many more. The University connection was to introduce them to their first taste of recording as a request was made to cut a single to promote the Charity Appeal for that year. Entering Craighall Studios in early Feb. 1964 tracks 'You Tell Me/Little Queenie' are produced and released in all their glory (It has now been confirmed by rock historians/pundits that this record is the first 7" single to be released by a Scottish beat group). The Wah Wah edition compiles the bands' 45s plus previously unreleased recordings from surviving acetates - if you love bands such as The Rolling Stones, The Kinks, The Yardbirds, bluesmen like Slim Harpo or Lazy Lester and also the soulful sounds of acts like Ike & Tina Turner or Ben E. King this LP is for you! In a strictly limited edition of only 500 copies, remastered by Roger Prades at Prades Mastering and housed in new vintage styled artwork in a three backflaps sleeve. Get your piece of Scotland's beat story!"
WE RELEASE JAZZ (SWITZERLAND)
CAT #: WRJ 008LTD-LPFUKUI, RYO A Letter from Slowboat LP
2022 repress; LP version. 180 gram vinyl; Half speed mastered; Heavy sleeve and obi. We Release Jazz announce the official reissue of Ryo Fukui's final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters. Known for his miraculous albums 1976's Scenery (WRJ 001CD/LP) and 1977's Mellow Dream (WRJ 002CD/LP), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz. A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui's jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity, and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day. Reissued in conjunction with 1999's Ryo Fukui in New York (WRJ 009CD/LTD-LP), also available via We Release Jazz.
CAT #: WRJ 009LTD-LPFUKUI, RYO Ryo Fukui in New York LP
2022 repress; LP version. 180 gram vinyl; Half speed mastered; Heavy sleev and obi. We Release Jazz announce the official reissue of Ryo Fukui's New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters. Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui's idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable sessions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums. Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui's very own Mellow Dream (WRJ 002CD/LP). It's expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it's got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way. Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day. Reissued in conjunction with 2016's A Letter from Slowboat (WRJ 008CD/LTD-LP), also available via We Release Jazz.
CAT #: WHP 1449LPCOLTRANE, JOHN Copenhagen, Denmark (FM) October 25, 1963 2LP
The classic four-piece line-up -- John Coltrane (tenor and soprano saxophone), McCoy Tyner (piano), Jimmy Garrison (bass), and master drummer Elvin Jones -- recorded live at Tivoli Concertsaal, Copenhagen, on the October 25th. A long hard to find concert with extended versions of Coltrane's compositions "Mr. PC", "Impressions", "The Promise", and "Naima", plus rendition of Mongo Santamaría's "Afro Blue" and Richard Rodgers-Oscar Hammerstein II's "My Favorite Things".
CAT #: YAZ 1035HLPBROONZY, BIG BILL Do That Guitar Rag 1928-1935 LP
2022 restock. 180 gram reissue, originally released in 1973. "The late Big Bill Broonzy looms as one of the few country blues greats whose career seems as remarkable as his musicianship. He played every professional role available to the untutored black guitarist of his generation: that of the country blues soloist catering to dance audiences, the city bluesman beguiling record-buyers with full-dress lyric themes and a slow song delivery, and the folk entertainer trading on familiar standards ear-marked for white listening audiences... It is his early career as a country bluesman that this LP, like its companion volume The Young Bill Broonzy commemorates."new releases are also viewable at https://www.forcedexposure.
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