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Forced Exposure New Releases for the Week of 11/11/2019

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New music is due from Rose McDowall & Shawn Pinchbeck, Sir Richard Bishop & Ed Yazijian, Pan•American, People Like Us, and David J, while old music is due from Joséphine Michel & Mika Vainio, The Maytals, and Vatican Shadow.

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PRICE: $25.00
A Colourful Storm's reissue project of Blueboy's Sarah Records albums culminates with Unisex, arguably the finest moment of the trio of Keith Girdler, Paul Stewart, and Gemma Townley. A bona fide indie-pop classic. The first vinyl issue since 1994, the album has gained an immense cult following in all corners of the world and stands as an almost forgotten pinnacle of pop songwriting. "I just want to kiss you in new places, to savour the joy of living, liking you..." Full-color reverse card sleeve with printed lyric sheet designed by Matt Haynes.
PRICE: $12.50
CAT #: APP 002EP
LOSOUL The Pulses EP 12"
2019 repress. After exploring the highs in electricity and the lows of the deep earth, the Another Picture label goes further into things, sensing vibration of the fire below and turning it into a never-ending evolution of sound and groove. Losoul tracks are scattered artefacts of the city, drawing their vibe and inspiration from the streets, the people, the concrete, the action. Then there's the ever-changing beauty of nature. Soul, movement, and emotion. Once again drawing on his lengthy experience in house and techno production and performance, Losoul delivers two tracks that are timeless in many ways. See you on the dancefloor. And everywhere else.
PRICE: $14.50
PIEZO Art Attack Gone Wrong/perccssszzzz 12"
After stand out releases in 2019 on Version and Wisdom Teeth, Piezo returns to Ansia with a new two-track EP Art Attack Gone Wrong/perccssszzzz. As has been evident with past records Piezo has always had a strong ear for using interesting sounds which have been expertly sculpted to create a unique sound universe. While releasing on other labels has allowed him to work closely with his peers the freedom of having his own label allows for him to explore his influences from the Italian rave scenes in a more direct manner. For this EP, these influences are streamlined into a techno-orientated sound palette with traditional four-on-the-floor beat patterns but with an approach more related to the sounds of Diagonal than Berghain. With "Art Attack Gone Wrong", the Milanese producer merges dancefloor efficiency with a playful approach to distortion, melody, and sound design, while on the flip you will find "perccssszzz", a no-frills heavy-swinged drum workout which, as the names suggests, refuses to include pretty much anything else than percussive elements. This time Ansia goes dark for the vinyl edition with white-ink stamped Tweetie on black label -- and last but not least, 180 gram vinyl cut deep and loud!
PRICE: $20.00
Five-time #1 DJ in the world Armin van Buuren unveiled the name and full tracklist of his seventh artist album. Balance, which follows on previous albums -- 76 (2003), Shivers (2005), Imagine (2008), Mirage (2010), Intense (2013), and Embrace (2015) -- is set for release on Armada Music. Rumors that Armin van Buuren was putting the final touches to his new artist album have been circulating the web for months now, and it'll definitely please the legions of dance music fans to know that those rumors weren't false. Features Avalan, Avian Grays, Jordan Shaw, Sam Martin, Garibay, Josh Cumbee, Candace Sosa, Inner City, Ne-Yo, James Newman, David Hodges, Conrad Sewell, Lucas & Steve, Matluck, Shapov, Above & Beyond, Haliene, James Newman, Olaf Blackwood, Bonnie McKee, BT, Nation Of One, Tempo Gusto, Luke Bond, Karra, and Cimo Fränkel. Double-CD boxset includes 40-page booklet.Armin van Buuren: "I'm so glad I can finally reveal the name and release date of my new album. Balance is a new chapter in my book of life, the result of venturing into known and unknown territories while finding the balance in between. I can't wait to share it with you!"
FF 001CD
PRICE: $16.50
CAT #: FF 001CD
LOST FREQUENCIES Alive And Feeling Fine 2CD
Second album for Lost Frequencies, aka Felix de Laet, Belgian DJ and producer. His credit list include remixes for Miley Cyrus, Major Lazer, LSD (supergroup comprising Labrinth, Sia, and Diplo), Estelle & Kanye West, Armin Van Buuren, and more. It was Lost Frequencies' summeresque signature sound that took the world by storm in 2015, but it's his versatility that made him stand tall amongst the top dance music players since. He showed as much through 2016 album, Less Is More, and he does so again with his second artist album: a double-sided world of wonder called Alive And Feeling Fine. Featuring various of his most notable productions yet, the first part of Alive And Feeling Fine juggles a host of known hits (e.g. "Crazy", "Recognise", "Melody", "Truth Never Lies") with several previously unreleased tracks, including collabs with the likes of Mokita and Throttle. The second part is an extra collection, featuring deluxe mixes, Tomorrowland edits and esteemed remixes of tracks from the likes of Armin Van Buuren, Estelle & Kanye West, and The Rasmus. The result is a fully-fledged, 23-track masterpiece that not only spotlights the Belgian superstar's production prowess in full, but also one that was created with his new Lost Frequencies Live tour in mind, which will see him take the stage alongside a band and vocalist. Lost Frequencies is more than just Alive And Feeling Fine. He's poised to show the world all he has to offer, starting with this brilliant body of work and the monumental U.S. tour that will follow right after the album's release. Also features Aloe Blacc, Zonderling, Love Harder, Flynn, The NGHBRS, Kyla La Grange, James Blunt, Natalie Slade, Calavera & Manya, Sharon den Adel, Two Pauz.
PRICE: $32.00
Tunnelvisions (Raynor de Groot and Emiel van den Dungen) originated from a shared vision of contemporary club music. They believe that the club scene -- that is often focusing on a colder, abstract high-tempo sound -- needs to go back to a more organic approach. It's one of the goals of their newly created Tunnelvisions project: "We aim to bring back the fun to the dancefloor again". This vision brought the two musicians together -- through hypnotic, exotic and grooving productions they tend to offer something new. In the studio, Tunnelvisions combines elements from South American, Caribbean, and African sounds. With a background in house, techno, and pop, they've created a nine-track double-LP that takes you to different places in the world. Each track title is based on a river or desert. "Guava", for example, is a Jamaican river: "This song is a sort of naive interpretation of reggae, pop and club music". Tunnelvisions already performed at the legendary Melt Festival, Georgie's Wundergarten, and various festivals in the southern parts of The Netherlands, the place where Emiel and Raynor are currently based. Double-LP comes in gatefold sleeve.
PRICE: $37.50
LP version. 180 gram vinyl. L'Ultimo Squalo (The Great White) is a 1981 movie directed by Enzo G. Castellari, an Italian reply to the horror genre dedicated to shark movies, a trend that started a few years before with Spielberg's Jaws (1975). In this movie, there is an enormous white shark disrupting the summer of a coastal city in Georgia, in a crescendo of tension and horror that will end in a terrible 1-on-1 between the monster and Peter Benton (James Franciscus), protagonist of the movie and unwitting shark hunter. The music, composed by the De Angelis brothers, Guido and Maurizio, contributes to the obsessive and thrilling moments in which the shark appears, dramatic and melodic when the story becomes more emotional. The wonderful score is also connoted by music by the two composers sung by the vocalist Ywonne Wilkins, plus a cue taken from the OST Uno Sceriffo Extraterrestre Poco Extra Molto Terrestre that provides great variety to the listening experience. Aside from being released here for the first time in any format, the score of L'Ultimo Squalo marks the beginning of a tighter collaboration between Beat Records and Cabum. The two historical labels will give life to a series of releases dedicated to wonderful music produced through the iconic De Angelis bros' label, a series that will offer a righteous tribute to these wonderful scores, much loved and long-awaited, popular staples of the two composer's live concerts. Mastering by Enrico De Gemini.
PRICE: $23.50
CAT #: DDJ 051CD
L'Ultimo Squalo (The Great White) is a 1981 movie directed by Enzo G. Castellari, an Italian reply to the horror genre dedicated to shark movies, a trend that started a few years before with Spielberg's Jaws (1975). In this movie, there is an enormous white shark disrupting the summer of a coastal city in Georgia, in a crescendo of tension and horror that will end in a terrible 1-on-1 between the monster and Peter Benton (James Franciscus), protagonist of the movie and unwitting shark hunter. The music, composed by the De Angelis brothers, Guido and Maurizio, contributes to the obsessive and thrilling moments in which the shark appears, dramatic and melodic when the story becomes more emotional. The wonderful score is also connoted by music by the two composers sung by the vocalist Ywonne Wilkins, plus a cue taken from the OST Uno Sceriffo Extraterrestre Poco Extra Molto Terrestre that provides great variety to the listening experience. Aside from being released here for the first time in any format, the score of L'Ultimo Squalo marks the beginning of a tighter collaboration between Beat Records and Cabum. The two historical labels will give life to a series of releases dedicated to wonderful music produced through the iconic De Angelis bros' label, a series that will offer a righteous tribute to these wonderful scores, much loved and long-awaited, popular staples of the two composer's live concerts. Mastering by Enrico De Gemini. CD version includes a 12-page booklet; liner notes and graphic layout by Daniele De Gemini.
BH 061EP
PRICE: $17.00
CAT #: BH 061EP
'Jay Glass Dubs is back on Berceuse Heroique after his inaugural release and this time he is going straight for the jugular. Jay Glass took a small break from the 80's experimental pop of The Safest Dub and he invoked the spirits of German Kosmische Musik and the studio insanity of African Head Charge. Film Noir vibes are mixed with the greek ancient tragedies, leaving the Apollonian aesthetics of his last release and going for a darker, denser and completely Dionysian approach for this one. Medea meets Touch Of Evil. Harmonia and young Adrian Sherwood are getting loose on some pentatonic Greek Traditional music from Epirus. Jay did it again and we are very happy to release this one."
BS 002CD
PRICE: $19.50
CAT #: BS 002CD
DOUM & THE FARYDS, AL Positive Force CD
2019 repress of the second album by Italian band Al Doum And The Faryds. The Positive Force LP is a collaboration between Black Sweat Records and Julia Dream Recordings. The music is the result of combining psychedelic music (first of all, Krautrock) and ethnic sounds; also using ethnic instruments such as darbuka, mbira, Tibetan bells, rhaita, and sitar to create a good ear-trip. This is what has been written about them by Julian Cope: "This fucking righteously Out There declaration comes on like a lobotomized Xhol Caravan meets Shiva's Tongue meets one of those low, low-grade reggae recording bands like Ras Michael & The Sons Of Negus, all jamming-ah on the 100° Fahrenheit obsidian-strewn plains of Southern Sardinia. Yes, it's hot. Throughout these proceedings, therefore, mucho Arabian percussion is shaken and kicked, much soul-clapping is embarked upon, and several times repeated Middle Eastern flute'n'sax themes of extreme unmemorability perk up then dwindle with an almightily stoned purposelessness. All quite exquisite. And although arid M. Karoli EBow occasionally flames up to provide a vast horizon of cosmick beauty, the Faryds' main themes always remain so VU-crunchy and agricultural down at their 'What bottom end?,' that even the off-kilter lipping of their sub-sub-Madness/Faust-style sax warbler appears sumptuous by disc's end. A fuck of a journey, kiddies, you gots to hear these cosmic jokers on repeat in order best to witness the dissolving of your immediate world."
BS 052CD
PRICE: $19.50
CAT #: BS 052CD
Cucoma Combo represent, above all, the new boiling energy of pan-rhythmic music, the awakening dance of joy, the experimental space for ambitious arrangements and free-improvised parts of colorful horns. From Black Africa to South America, one travels on paths of Congolese soukuss and Amazonian carimbò, between accents of Colombian cumbia, kalimba vibes, and tribal voices. We find seeded traces of space-funk and afrobeat, with amazing acid keyboards and an enchanting female voice. The power of rhythm and in general the whole project is led by Marco Zanotti, a multifaceted drummer and fine poly-percussionist, expert of the African and South American sound universe. With his Classica Orchestra Afrobeat, he proudly took part in outstanding collaborations with Seun Kuti, Sekouba Bambino, and Baba Sissoko, as well as a prestigious participation in the Glastonbury Fest.
BS 054CD
PRICE: $19.50
CAT #: BS 054CD
Moon On The Water is a mysterious sound aurora on the magical paths of the infinite universe of percussion, originally released in 1985 and then almost completely lost. The well-educated drummer Tiziano Tononi, together with David Searcy and Jonathan Scully, while working at the temple of classical music Teatro alla Scala in Milano decided to realize a personal compendium of sounds using only percussion instruments. The recordings offer an amazing concert of sounds with acoustic purity in perfect balance between wild rhythm and deep relaxation. Ecstatic elements of Japanese ambient minimalism dialogue with contemporary music solutions (Varese, Ligeti) in the stream of a harmonious fusion of ancient and modern. It's a propitiatory ceremony of supernatural things that opens portals of blissfulness, tribal and shamanic darkness, and timeless jungles. Between Amazon fires and African safaris, one floats in Asian rivers of meditation, gets lost in water games, hears echoes of caves and rocks in the night, synergies of frogs, birds, snakes, marimbas, chimes, gongs, and tubular woods.
PRICE: $14.50
FADER In Shadow CD
In Shadow is the second album from Fader, a duo consisting of Neil Arthur (Blancmange, Near Future) and Benge, whose work includes his own solo albums, co-productions with Gazelle Twin, and being a member of three other critically-acclaimed bands: Wrangler, Creep Show, and John Foxx and The Maths. Opening with the pulsing darkness of "Always Suited Blue", the tone of the new album is more haunted than their first -- cascades of analog synths falling over rich, sonorous vocals and lyrics that switch between midnight introspection and something more sinister. This slow creep towards something undefined but menacing is partly due to Arthur's vocals, pitched so low they sound like they're coming through the boards on the likes of "What Did It Say" and "Reporting". However, there's also a vulnerability in his voice, trying to make some kind of sense out of all the random thoughts and disturbing emotions. "Enemy Fighter" is eerily beautiful, as is the title track which is almost Zen-like in its minimalist gloom. These unsung heroes of underground minimal electronic music seem to be reveling in Fader's outsider status as they offer a deeply personal album of subtle heartbreak and slow-burning pop songs.
BB 321CD
PRICE: $17.00
CAT #: BB 321CD
Thomas Klein, Alexander Paulick, Andreas Reihse, and Detlef Weinrich assembled in Düsseldorf in winter of 2018 for recordings, and then continued with further sessions in Berlin. Starting with around a dozen sketches, the band produced eight pieces, including "Flood I-IV" and "Flood V", an ensemble of five songs that -- in LP terms -- fills the entire second side of the album. But let's start from the beginning. Side One -- still speaking in LP terms -- begins pleasantly enough with the gentle roll and slight murmur of "Eurydike". Borrowed from Greek mythology, the title refers to the pretense of affection as a means of abandonment. The wistful saxophone, the bass notes, the slight trembling in the sound all speak of her awakening from disillusion. "Celeration", the second piece, seems to accelerate. But the pace of "Eurydike" is actually maintained. The tone becomes sharper, the rhythm creaky, the rolling more energetic, the sequence calls for a sacrifice. A shimmy, a scuttle, a quarter step: "Nesindano". The voice you hear is Khoes, alias Nesindano Namises; the language we hear is Khoekhoe/Damara. A gong, a CR-78 joins, a clicking, a flicker, words flutter, a bass booms, the voice rises up to the hook line, an FM synthesizer picks up the pieces and carries them along, percussion rattles. Agit-Pop! "Flood I-IV" is not about modesty or humility. It calls for always demanding the maximum --of oneself and for oneself -- which also means to give, and that each may set their own limits while respecting others, accepting them and helping where help is needed. Ricardo Domeneck takes on "Flood II" while looking out over the sea in Brazil, his feet in the sand for a few minutes, recalling a conversation with a geologist. "Flood I-IV" involves synthesizers, strings, rusty percussion, guitars enter into dialogue, a collaborative negotiation, a swelling and descending, a showering in transparent layers, banging on shore, heads are rolling, liquefying hierarchies not structures. "Flood IV" is a dance that flows into "Flood V", taking with it its instrumentation and mood, and moving it into a state between an easy-elegiac thoughtfulness and a concentrated contemplation. Kreidler, this four-headed hydra of a continental pop music that captures Bach, disco, postpunk, club, and krautrock in varying proportions with an elegant lightness. On Flood the band playfully expands its approach with two renowned voices.
BB 323CD
PRICE: $17.00
CAT #: BB 323CD
OTTO Over The Top Orchester CD
A living room somewhere in southern Germany. Embroidery graces the walls, a veneer side table with little chrome feet stands in front of a beige velour sofa, a minibar awaits. Pride of place goes to the electric organ which majestically occupies the center of the room, flanked by two oversized loudspeakers. Welcome to the world of OTTO. The duo comprising Alexander Arpeggio and Cid Hohner released their debut 12"-single -- Greatest Hits -- on the Dutch label Charlois in 2016. It sounded fresh, with abundant references to old school electronic organ music. The recordings were made in Cid Hohner's home studio with the aid of various dusty electronic keyboard instruments, the most important of which was a home organ from the early 1980s -- with integrated auto bass and rhythm patterns, of course. In 2017, OTTO finally dragged their organs on stage to unleash their live set. A second disc (self-released) soon followed. The cover image of a German allotment garden anti-idyll under grey skies reflects the darker tone of Full Auto, the music driven forwards by a 1960s drum machine. OTTO headed for the grimy bars and stages of Europe to perform their new creations. A third 12" appeared in 2018. Stimmungen was released with the support of Orgaton, the society for the promotion of organ music. The cover could be an advertisement for a debt collection agency. Inside: bewilderingly danceable rap, a beguiling ballad, smooth as silk. Once again, OTTO defined the contours of their own organ-disco genre. And there's no stopping them now: the two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio and Hohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand-new numbers, invariably strange synthesizer compositions. Looking at the cover, one might be forgiven for thinking that OTTO have finally achieved their goal of establishing themselves as a renowned wedding dance band. The track titles hint at such reveries: champagne on the red carpet, riding a noble horse, fire-eaters, the delirious morning after -- OTTO offer a bouquet of hits which one cannot refuse. In their own words: "I wish it were just a dream."
BB 324CD
PRICE: $17.00
CAT #: BB 324CD
Bureau B present a reissue of Serge Blenner's La Vogue, originally released in 1980. Music for the apocalyptic eighties Deutschland state of mind. When Serge Blenner left his native France for Hamburg, West Germany, neither he nor anyone else could have guessed that he would inadvertently compose a soundtrack for the Cold War. But his dark, monotone synthesizer album La Vogue turned out to be just that. Blenner was born in 1955 in Alsace, the easternmost region of France. He studied composition and harmony at the Conservatoire de Mulhouse. He loved listening to electronic music from the Berlin School: Klaus Schulze, Tangerine Dream, Ash Ra Tempel/Manuel Göttsching, whom he got to know when they played in Alsatian churches and chapels. Blenner the proselyte had seen enough to realize: it was time to move to Germany, whence this music came. The year was 1975. He soon began experimenting with electronic music himself and graduated to live performances by 1978 and finally settled in Hamburg in 1979. One of the most important electronic music labels of the period, Sky Records, was based in Hamburg. Within the space of six months, Blenner had recorded the tracks which would become La Vogue and sent them to Sky Records. A deal was done and La Vogue was officially released before the year ended. The record was a resounding success, some tracks even made it onto the radio -- crucially, aired at hours of the day when significant numbers of listeners were tuning in. The longest track on La Vogue by far clocks up to nearly nine minutes, a rarity in Blenner's oeuvre, well outside his usual range of three-to-five minutes. La Vogue is an album of two halves. Through the first four tracks, Blenner still seems to be searching for his own style, beginning with the minimalistic, rather somber fanfare of "Phrase I" built around a single melodic pattern. Next up is the almost poppy, harmonically rich "Phrase II", followed by the spherical "Phrase III" and the crystalline, chiming "Phrase IV". If the first four cuts are linked only by heterogeneity, tracks five to eight are very much of a piece. Together they represent a frosty, menacing soundtrack worthy of the apocalyptic mood which hung over the early 1980s, particularly in West Germany. With Cold War angst at its peak, many people feared a Soviet nuclear attack was imminent.
BB 325CD
PRICE: $17.00
CAT #: BB 325CD
BLENNER, SERGE Magazin Frivole CD
Bureau B present a reissue of Serge Blenner's Magazin Frivole, originally released in 1981. Cold, concise analog synthesizer instrumentals -- on his second album Serge Blenner remained true to his style, albeit shifting course slightly towards pop territory. The juxtaposition of dark harmonies and pop structures is what makes this album so appealing. In places, it feels like a blueprint for early Depeche Mode. Having seen his first album La Vogue (BB 324CD/LP) snapped up by the Sky Records and fast-tracked for release in 1980, Blenner delivered his second LP, Magazin Frivole, the following year. Mindful of the success of its predecessor, Blenner added the name of his debut in big letters to the front cover of the new sleeve. Blenner remained faithful to his musical style, albeit adding more of a pop flavor. Magazin Frivole would not look out of place filed alongside Depeche Mode on the record shelf, as a certain resemblance is undeniable. Moreover, Blenner was one of the few proponents of electronic music who preferred to keep his songs concise, in contrast to the meandering odysseys of many of his electronic contemporaries. The far better-known French artist Jean-Michel Jarre adhered to similar principles, yet although Blenner was often compared to his compatriot, he claims only to have heard his music long after La Vogue had appeared. Minor chords dominate his harmonies, the bass performs octave leaps which mirror the zeitgeist. Unexpected key changes abound, adding a restless, almost disquieting quality. Overall, Magazin Frivole is less dark than the preceding album, but a picture of cheerfulness it is not. Nevertheless, a poppy drum computer introduces a lighter note. From the very first track, chord changes pop up at unexpected junctures -- they seem to come in prematurely, before harmonic sequences have run their course. Blenner doesn't have any explanation for this curiosity, other than to note that "most of the music was played by hand, so of course it wasn't all perfect." "I did all I could to avoid being successful -- on a subconscious level, at least. Unpredictable metrics and irregular beats were definitely part of the process," Blenner admits with an enigmatic smile. Juxtaposed with Blenner's more recent works, one can see what he means. His latest album Musique de Chambre (2008) comprises modern classical chamber music, built on digitally sampled real instruments. Besides, Blenner points out, handling all of those analog devices was a convoluted and complex undertaking.
BB 326CD
PRICE: $25.00
CAT #: BB 326CD
CAMOUFLAGE Methods Of Silence 2CD
Bureau B present an expanded reissue of Camouflage's Methods Of Silence, originally released in 1989. Founded in the southern German city of Bietigheim-Bissingen by Heiko Maile, Oliver Kreyssig, and Marcus Meyn in the year 1984, the band Camouflage scored an unexpected international hit with their debut album Voices & Images in 1988. One of the tracks in particular, "The Great Commandment", went on to become a perennial classic of the synth pop genre. Their sophomore album Methods Of Silence, released just a year later, was an even bigger success. The band produced the record in Brussels, working on the songs with Dan Lacksman (Telex). "Love Is A Shield", the first single cut, has endured as a worldwide dancefloor anthem and is even a popular choice at weddings in South America. To mark the 30th anniversary of the album, the band opened up the archives to assemble a special bonus edition including a wealth of rare and unreleased recordings.
PRICE: $9.50
LARSEN Arrival Vibrate Cassette
Arrival Vibrate is Larsen's 17th album, an alchemical suite tribute to the late Z'EV based on his poem by the same title hereby transcribed by Larsen's members into a score following the "Rhythmajick" kabbalistic musical theories by their friend Z'EV. The album documents the first live performance ever of this piece recorded at the band's March 13th, 2018 benefit concert for Médecins Sans Frontières International at The National Museum Of Cinema in Torino, Italy, and features two different versions of "Arrival Vibrate", one faithful to the show mixed by Larsen's sound engineer Paul Beauchamp and one revised and enriched by Larsen and Z'EV's mutual friend, musician/performer/visual artist John Duncan (of Los Angeles Free Music Society fame). About his (re)mix John Duncan says: "The contribution I wanted to make was to enhance moments that seemed to call for more complexity, more presence and most of all more of a congratulatory celebration of Z'EV's achievements, with the applause that was always so difficult for him to accept, as well as to be effectively invisible; like you hear the same music you heard before, but it's like hearing it for the first time."
PRICE: $28.50
Formed in 2016, Others is the project of two artists longing for something more experimental in their musical work. Lesli Wood (Cobra Family Picnic) and Daniel Martin Diaz (Trees Speak, Amelia Poe) began these recordings in Wood's warehouse studio, inviting one guest musician to sit in for each live session. Abstract violinist Vicki Brown, known for her "psychosonic visualizations", is featured throughout the record, along with guest artists Ben Nisbett, Gabriel Sullivan, Julius Schlosburg, Damian Diaz, and Michael Glidewell. This avant-garde project has one foot in the 21st century and the other shifting among various eras of the past, sometimes in a dance, sometimes a dirge, of synths and dulcimers. Freed of genre limitations and preconceived patterns, the musicians were encouraged to explore wildly, using the foundation of a "broken" consort of 18th century chamber music wherein one musician introduces a melody, motif, or sound and the other musicians respond as they see fit. Recording sessions were lit by candlelight and shrouded in incense smoke, establishing the mood for composition, calling to mind, as Diaz describes, a gothic cathedral "filled with early analog synthesizers with vines growing out of them, a living breathing entity of music that transcends time and space." White vinyl; edition of 300.
PRICE: $15.00
OJERUM Without Blood The Sun Darkens CD
"Surreal, mysterious and poetic is how one could define the work of Danish musician and collage artist Paw Grabowski. His latest album Without Blood The Sun Darkens exudes feelings of the simplicity of being present, in the absence of absolute existence, pervaded by memories, moods and emotions, neither sad nor happy, fulfilled. It is about watching time, from faded memories of one's childhood to that feeling just before laying down between wanderings and stillness, looking at the darkening room just before you disperse and disappear completely into nothingness. Soothing and engulfing melodies that seems to repeat yet always evolving, a profound venture through melancholy. Edition of 500 copies in 4 panel Digipak."
PRICE: $15.00
"Ambient ritual soundscapes that are profound and resonating, the music, artwork and concept behind Bod serves as an exploration and instalment of a new tradition of ritual and occult arts sourced from various ancient foundations. For this, a new culture with its own history, including a new language was constructed. The meaning created by Muur is but one interpretation of the new tradition; it is of great importance for every listener to construct their own meaning from their experience. Because of this, neither Muur, nor Bod is affiliated with any form of traditional Left Hand Path."
PRICE: $15.00
BJARGO, PETER The Architecture Of Melancholy CD
"Repress. Peter Bjärgö, the man behind the now legendary groups Arcana and Sophia is back with his second solo album. On his first solo release A Wave Of Bitterness, we got a glimpse into the mind of a thoughtful person. Now this new release, The Architecture Of Melancholy, we are sent onto a journey to the darkest depths of Peter's mind and thoughts. Melancholy was once a disease, a mental statement of chronic depression, we are now facing this illness again around the world and this album is a real journey with the melancholic mind. Titles like 'Bitteresque', 'Apathy and The Death Of Our Sun' give us an idea of the aural voyage ahead. The delicate blend of soft guitars, engulfing dark ambient and the sheer power of Peter's voice make this album a shining diamond among stones. Hope is all that is left..."
PRICE: $14.00
CAT #: DLS 007EP
MOORE, THURSTON Pollination/Leave Me Alone 7"
7" yellow vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells (DLS 008EP), Three Graces (DLS 009EP), and Pollination. Each 7-inch comprises an excerpted moment from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
PRICE: $14.00
CAT #: DLS 008EP
MOORE, THURSTON Spring Swell/Leave Me Alone 7"
7" turquoise vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells, Three Graces (DLS 009EP), and Pollination (DLS 007EP). Each 7-inch comprises an excerpted moment from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
PRICE: $14.00
CAT #: DLS 009EP
MOORE, THURSTON Three Graces/Leave Me Alone 7"
7" magenta vinyl; includes eight-page zine. Daydream Library Series release Thurston Moore's trio of 7-inch singles: Spring Swells (DLS 008EP), Three Graces, and Pollination (DLS 007EP). Each 7-inch comprises an excerpted moment from the Thurston Moore Group live in 2019, free-mixed and free-created by Wobbly (aka Jon Leidecker). The B-side of each is a special cover of a New Order track (recorded in Salford).
PRICE: $22.00
SAVINA, CARLO Goldsnake Anonima Killers CD
Digitmovies is pleased to reissue, the OST by Carlo Savina for spy film Suicide Mission To Singapore (1966) (original title Goldsnake Anonima Killers). For this OST, Carlo Savina composed lounge background music, at times dominated by a mysterious Asian vibe and by sophisticated jazzy vibes. "Gold Snake", the main score, is interpreted by the fabulous voice of Iva Zanicchi, written for a symphony orchestra, and accompanied by the New Orlandi choir. The leitmotif is reprised in a shake version and a slow danceable version. The well-known actress Yoko Tani, the film's protagonist, performs the romantic piece "Crazy", which also recorded in an instrumental version. The spy aspect of the plot is emphasized by suspense and action music. The mono master tapes of the recording session were used for the remaster. LP version is the first time on vinyl; 180 gram pressing.
PRICE: $22.00
ORTOLANI, RIZ Non Faccio La Guerra, Faccio L'amore CD
Digitmovies presents a complete CD edition of Riz Ortolani's OST for the film Make Love, Not War (aka Non Faccio La Guerra, Faccio L'amore) (1966). Ortolani composed a pleasant symphonic OST dominated by a romantic main theme. It's introduced with horns and performed by trumpet and orchestra in the opening credits, and then reprised throughout the soundtrack in a series of captivating variations. The motif is alternated with romantic moods, suspense pieces, jazz and folk music, the brilliant Latin theme for billionaire Don Getullio, and a wild shake. Originally C.A.M. had only released a 45 rpm single with two mono tracks. For this CD, the masters from the original recording session -- which was entirely in stereo -- were used.
PRICE: $21.00
Previously released on CD accompanied by Gone, Gone Beyond, The Mirror is the dreamy soundtrack of an A/V project from collage artist extraordinaire Vicki Bennett aka People Like Us. With The Mirror Bennett continues her eternal disassembling of popular music by exploring how the narrative of familiar sounds/songs can change dramatically under a new context, with that context always changing, in a never-ending flow. Each song is singular. And each song is a collage of an undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But The Mirror plays with the notion of the familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, one's unique comprehension of those specific songs applied in a new context. Because of the use of familiar pop sounds, The Mirror is often grandiose, like an epic film with only highs, never letting the listener down or letting them doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe. Although that may sound naïve, it's just a lost thought of reaction to the beautiful collages of People Like Us in The Mirror. This mirror doesn't reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage. Mastered by Mark Gergis; vinyl cut by Rashad Becker.
PRICE: $21.00
Maybe it's too much to ask for a moment of your attention. As you grow older and keep diving into this era of information, disinformation, fake news, and all that, you might also tend to take a step back and listen to the intents of those social media adverts that tell us to slow down, breathe in, breathe out, enjoy everything around you a little bit. So, if it's not too much to ask, you can press play and start enjoying D-A-D. If you're doing that, you can even stop reading this, because you don't need further instructions. It's the second time in less than two years that Discrepant has released music from London based Greek musician Tasos Stamou (Athens, 1978). The wordplay of Musique Con Crète (CREP 054LP, 2018) was a backdoor to an adventurous and "concrete" experience with sound. D-A-D follows up on that. Recorded between 2015-2018 as an homage to both his Dad and the more commonly used tuning on the Greek Bouzouki, D-A-D, Stamou delivers 40 minutes of music that explores ancient and modern languages, while crossing his unique instrumentation with celebrations of new/old folk, field recordings, and electronics. In his music, there's a constant flow of ideas that defy standard tonalities and the conception of "traditional". Improvisation was the starting point for the creation of some of the nine pieces Tasos Stamou wrote for D-A-D. The electronics often serve to interact with field recordings that are wisely manipulated, while acoustic instruments, like a Bouzouki, build up the connection with the tradition and the necessity to slow down. With his unique atmospheres, Tasos is whispering some life hacks to build a better life. Nowadays, it's quite rare for a record to organize the way the listener wants to listen to music, to sounds. D-A-D creates a beautiful systematization between old and new, folk/traditional music and the technology in sound. All songs by Tasos Stamou. Mastered and cut by Rashad Becker.
PRICE: $22.00
MIND, THE Edge of the Planet LP
Let's take a journey into the world of The Mind. You'd probably classify this as "post-punk", if only because that's the only bracket into which they (very loosely) fit. Basslines pulse robotically while guitars splutter discordantly across sheets of static and electronic drums; like dub music shorn of its Caribbean groove and reinvented by retro-futuristic robots, hellbent on kicking out some brain-busting skronk while they wait for Skynet to take over. Opener "Blah Bla Nothin" weighs in like Pere Ubu staring at the chasm between Dub Housing (1978) and Lady From Shanghai (2013) before drowning in hiss, and "Enjoy Your Fantasy" is the soundtrack to This Mortal Coil's nightmares, powered by the distant sound of rolling drums and a fuzzy tension that bristles the hairs on the back of your neck while leaving you thoroughly unsettled. Elsewhere, studio trickery and a dystopian sci-fi gloom hang over the whole thing like dust on a lampshade -- basically it's all over the place. They're as idiosyncratic and thoroughly in tune with their own voice as the early days of Throwing Muses; throwing their glorious chaos at the wall and allowing its own order to settle.
PRICE: $23.00
Editions Mego present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focused on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a U-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 featured on the vinyl, the remaining ten as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika Widzicka recs. from 2014 Central Museum of Textiles ?ód?, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age. The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland/Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc. Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel, and Alexandra Bircken, three different generations who would with ideas of fabric weaving, looming, and the like. This exceptional release works on a number of levels alongside it's striking sonic palette. The digital bonus tracks (and the LP tracks) can be redeemed with download card that comes with the LP.
PRICE: $32.00
CAT #: RD7
RENALDO & THE LOAF The Elbow Is Taboo/Elbonus 2LP
The Elbow Is Taboo was Renaldo & The Loaf's fourth and last album of their initial phase prior to their return in 2010. Released by Ralph Records in America and Some Bizzare in the UK in 1987, this work represents a development in the overall sound as they utilize an 8-track recorder along with early digital effects. A large arsenal of acoustic instrumentation gives the record an additional unsettling atmosphere. Recorded over a three-year period this remains the definitive statement by the group in this early period. As clarified by Brian from the band, the themes remain as obtuse and alluring as ever with each song containing its own story: "be it a child's desire to control ('A Street Called Straight'), the ridiculous purdah of an innocent part of the body ('The Elbow Is Taboo'), a call for help in times of angst ('Here's To the Oblong Boys'), the rigours of a bread fetish ('The Bread Song'), the anger of a dance teacher to the terminally inept ('Critical/Dance') or a ritual call to prayer, somewhere ('Extracting The Re-Re')". Disorientating and delightful, this is a must for all fans of the Loaf and for those tickled by the more deranged spectrum of song. Remastered for vinyl and cut by Rashad Becker at Dubplates & Mastering, Berlin, Nov 2018. Original album recorded Chez Struvé 1984 to 1986. Cover design & layout by Nik Void. Original cover concept by Renaldo & The Loaf.
PRICE: $14.00
A SAGITTARIUN A Fistful Of Bitcoins 12"
With a third album, Return To Telepathic Heights (RBINC 004LP), released this year on Gerd Janson's Running Back label, techno outlaw A Sagittariun returns to themes of a space western nature with a closing epilogue, A Fistful Of Bitcoins. An extended player that traverses Tucumcari, Vietnam's Black River, and the ultimate, and final leg, of the journey; to Devils Tower in Wyoming.
ER 085LP
PRICE: $18.00
CAT #: ER 085LP
"DIY post-punk pioneers Richard Dudanski (Public Image Limited, Raincoats, 101ers etc), and Xentos, (aka Amos / Jim Whelton, Homosexuals / Amon And Sara etc), having been musical cohorts since 1979, have joined with vocalist/radio artist Sarah Washington and sax blower John Glyn for their latest project. Four years of recording in and around Granada and UK using locations ranging from abandoned soft drinks factories to gin-slugging auntie's living rooms have resulted in this Unhappy Fly collection: a syncopated soundscape of para-reductive pop based on Xentos' valorised rococo productions allied with Dudanski's daedalian drums. Featuring a sizeable crew of musical collaborators, and drawing on Washington's curlicued harmonies and John Glyn's multiple saxes, it is a music that invites slippery categorisation. Unhappy Fly's deracinated tune-smithing to creates a music that scoops up the noisy dogmas of the past and relocates them to the far side of the 5th dimension. For live outings they are joined by Owen Ross on guitar and Jerry Schmidt Jr on electric bass."
PRICE: $29.00
Dengue Dengue Dengue! continue expanding their carefully created aesthetic on Zenit & Nadir by diving into the deep and rich musical history of Afro-Peruvian music, already hinted in the first single "Ágni", which is the inversion of the traditional Afro-Peruvian rhythm, Ingá. The ongoing exploration of the vast and rich musical heritage of the descendants of the former African slaves in Peru has become the main focus of their new album. Their interest in Afro-Peruvian music has led them to meet and record extensively with several members of the Ballumbrosio family, a renowned musical dynasty in Peru that has kept Afro-Peruvian musical traditions alive, masters of rhythms like landó, festejo, and crioullo music, with traditional dances and instruments such as the iconic quijada -- a rattling percussive instrument made out of a donkey's jawbone. The introduction of live recordings with the Ballumbrosio brothers has given a whole new dimension to their always-expanding sound, and they feature extensively all throughout the album. The marriage between the traditional and organic percussion of the Ballumbrosios with DDD's hypnotic electronic production has created a whole new chapter for the band Features Kalaf, Sara Van, Mikongo, Prisma, and Martin Boder.
MTE 070-71LP
PRICE: $42.50
CAT #: MTE 070-71LP
Limited repress on clear vinyl. Double LP version. LPs pressed on premium audiophile-quality vinyl at RTI from Kevin Gray Lacquers; Presented in a textured gatefold Stoughton "laserdisc" jacket with a cover painting by Lisa Alvarado. Jackets, retro-audiophile sleeves and record labels hand-screen printed by Alan Sherry at Siwa Studios, Northern New Mexico. Mandatory Reality, the new album by Joshua Abrams and Natural Information Society, is here. Setting aside (for the moment) the electric instrumentation of Simultonality (GB 048CD/MTE 068LP, 2017) and Magnetoception (MTE 063-64LP, 2015), Joshua Abrams conceived Mandatory Reality for an eight-piece acoustic manifestation of NIS, consisting of himself on guimbri, Lisa Alvarado on harmonium and gongs, Mikel Avery on tam-tam and gongs, Ben Boye on autoharp and piano, Hamid Drake on tabla and tar, Ben Lamar Gay on cornet, Nick Mazzarella on alto saxophone, and Jason Stein on bass clarinet. A double album, Mandatory Reality is comprised largely of two performances, both Joshua Abrams compositions, 24- and 40-minutes in length. While new to the band's records, long duration pieces are familiar to those who've heard Joshua Abram and NIS in concert in recent years, where elaboration on a single composition for an hour or more is not unusual. Gradual tempos dominate Mandatory Reality. Recorded two months before the 2017 solar eclipse, Mandatory Reality is the sound of Joshua Abrams and NIS taking its time. Merging methodical compositions with sonically voluptuous orchestration, Abrams heightens the immersive and hypnotic qualities Abram and NIS music is known for, taking the band and the listener deep into a collective meditative space. A grand realization of long-form psychedelic music, Mandatory Reality is a dispatch from a sound world that is increasingly unique to itself. All performances on Mandatory Reality are full takes recorded live to tape by the full ensemble, magnificently captured by Greg Norman at electrical audio, Chicago -- the first true "audiophile" recording of Joshua Abrams and NIS. Mastered by Helge Sten at Audio Virus, Oslo.
PRICE: $34.00
"For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers -- a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi. With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended. With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring long tone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses. This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster."
PRICE: $29.00
WADA, YOSHI Lament For The Rise And Fall Of The Elephantine Crocodile LP
"Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism -- akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own. After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments -- the human voice and bagpipes -- to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament. 'That swimming pool was quite hallucinatory,' recalls Wada. 'It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations... The piece itself is an experiment with reeds and improvisational singing within the modal structure.' This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster."
PRICE: $19.50
CAT #: FVR 158CD
Favorite Recordings present a reissue of Dwight Druick's Tanger, originally released in 1980. Dwight Druick was born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor's degree in Art History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker's management company. The ensuing record, Druick & Lorange (1974), was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: Midnight (1979) and Minuit (!979). Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo's work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, Tanger, released in 1980 by the Canadian label, Bobinason. Today quite hard to find in its original version, Tanger is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the stunning cover of Toto's classic hit, "Georgy Porgy", which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst them another fine rendition of "Open Your Eyes" by The Doobie Brothers. In fact, with its brilliant mix of modern-soul, disco, and AOR styles, the whole album is already considered by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend. Never reissued on vinyl until now, there was not much more needed at Favorite Recordings to make it happened. Officially licensed to Dwight Druick, who was unfortunately not able to provide the original tapes, Tanger has been perfectly restored and remastered by Frank Merritt, at The Carvery, London. CD version includes bonus track, "Georgy Porgy (Version Disco)".
PRICE: $22.00
CAT #: FTR 464LP
PLANTS OF THE BIBLE Plants of the Bible LP
"Here is the first physically graspable music available by this mysterious Western Massachusetts duo, whose sound has been called 'Synthetic ASMR love balladry,' by more than one canny listener. Asking them to describe themselves, we received this missive: 'Plants of the Bible started in a bedroom in Florence with a tape machine and a poem about an unkillable dog android before it quickly spiraled out of control into a real band with a real record. Their first album is a dreamy cast of imagined characters and everyday events built with elaborately layered sounds. Driven by their array of cheap keyboards and a wide range of influences from La Boheme to Fabio Frizzi to Justin Bieber, their music is deceptively inviting and playfully disorienting. They are currently working on an EP of hot songs and researching a more long-term project about the history of lesbian porn.' Not sure what more we can add, except that, according to inter-web sources, there are more than 120 plants mentioned in the Bible, ranging from 'Abraham's Bush' to 'Wormwood.' If you need more information consult a priest of some sort. If you need be confused in a way that involves wonderfully deep hooks, get this album instead. Go ahead, all will be forgiven. By actual plants!" --Byron Coley, 2019 Edition of 250.
PRICE: $15.50
FROST, OLIVER Mixes & Remixes CD
Mixes & Remixes combines a number of Oliver Frost's his most successful works on one CD. Photographer and musician Oliver Frost started his musical journey on keyboards with the Berlin-based group Growing Tree. From his next station with Frost & Wagner in the early 2000s, there followed a solo career where he encountered the likes of Jan Delay, Tosca, Joy Denalane, Jah Wobble, Ken Boothe, The Black Seeds, Tackhead, Jazzanova, and many more. Frost is an artist who knows exactly what his art is about. His compositions combine jazz, soul, reggae, pop, and the avant-garde; the resulting music is complex and precise.
GP 004LP
PRICE: $23.00
CAT #: GP 004LP
Neka Neka (on General Purpose) is the first solo release by multi-disciplinary artist, Ex Ponto (Ivan Masi?). Coming of age during the mid-90s Melbourne rave scene, Ivan was infected with music by the legendary Kate Bathgate on 3RRR community radio. Hearing music by the likes of Oliver Lieb, Will E Tell, HMC, and other producers of the time, an infection quickly turned into a music obsession that lives on today. In the following years Ivan would go on to manage one of Melbourne's longest running record stores (Dixons Records) and in 2005 built a recording studio, aptly named The Womb. From 2005-15, he produced and played on over 20 albums for improvisation collective, Council of Elders and, experimental, no-wave band, Wunderlust. Neka Neka is a nod to ex-Yugoslavian experimentalists of the '80s (Rex Ilusivii, Kozmetika, Miha Kralj, etc.) and the thriving, late-night hedonism of Belgrade's Club 20/44. Includes download code.
PRICE: $14.50
DAVID J Missive To An Angel From The Halls Of Infamy And Allure CD
Solo album by David J (Bauhaus, Love And Rockets) is an intensely personal, self-deprecating, confessional song cycle and ultimately a glowing tribute to his wife of many decades. It is intended as a cyclic swan-song, the last track, "I Hear Only Silence Now" being a new version of the song which was the first on J's 1983 solo debut, Etiquette Of Violence. The new album was recorded in Prague, Berlin, and Los Angeles as well as Wellingborough, England when J revisited Beck Studios where his former highly influential band, Bauhaus cut "Bela Lugosi's Dead" in 1979. The new album features contributions from Anton Newcombe (Brian Jonestown Massacre), Toby Dammit (Nick Cave And The Bad Seeds), Paul Wallfisch (Swans), Sean Eden (Luna), Rose McGowan, Asia Argento, Emily Jane White, Annabel (lee), and the great Czech violinist Karel Holas, amongst others. J sees the album as the culmination of 36 years of solo/collaborative work. It is also a "coming home" of sorts as the label behind the release is the London based Glass Modern (the newly reactivated Glass Records) which originally released some of J's earliest critically acclaimed works.
PRICE: $14.50
Original music soundtrack from the film Far From The Apple Tree by Grant McPhee -- A psychedelic pop-art fairytale. Soundtrack composed by Rose McDowall and Shawn Pinchbeck. CD version and download code includes one extra track."Far From the Apple Tree is an eclectic mix of ghost story, fairy tale and horror. Evocative of films like Valerie and Her Week of Wonders and The Wicker Man and with a truly magical soundtrack by Rose McDowall (Strawberry Switchblade) and Shawn Pinchbeck make Far From The Apple Tree a must-see for fans of Redemption and ethereal thrills." --Salvation"Rose and Shawn's soundtrack adds so much colour, mood, mystery and magic to our film that it would feel empty without it. I'm delighted that it is now being released on its own, and by Glass so that it can add those same qualities to anyone who picks up a copy for themselves. " --Grant McPhee
PRICE: $23.50
LP version. Includes download code. Original music soundtrack from the film Far From The Apple Tree by Grant McPhee -- A psychedelic pop-art fairytale. Soundtrack composed by Rose McDowall and Shawn Pinchbeck."Far From the Apple Tree is an eclectic mix of ghost story, fairy tale and horror. Evocative of films like Valerie and Her Week of Wonders and The Wicker Man and with a truly magical soundtrack by Rose McDowall (Strawberry Switchblade) and Shawn Pinchbeck make Far From The Apple Tree a must-see for fans of Redemption and ethereal thrills." --Salvation"Rose and Shawn's soundtrack adds so much colour, mood, mystery and magic to our film that it would feel empty without it. I'm delighted that it is now being released on its own, and by Glass so that it can add those same qualities to anyone who picks up a copy for themselves. " --Grant McPhee
GB 083LP
PRICE: $23.50
CAT #: GB 083LP
LP version. 180 gram vinyl; includes download code. On the front cover of Saharawi singer-songwriter and activist Aziza Brahim's new album, Sahari, a young girl poses in ballet shoes and a glistening white tutu. It's a common childhood scene, but it's tipped upside down. She's an exile, living nowhere near her homeland, and behind her stand the tents and buildings of a refugee camp. There's a desert on the ground and a burning sky above. Yet even in this bleakness, she has optimism. She believes in a better future. The music Aziza Brahim makes reflects both the sorrow and the hope of these people. She grew up in one of those camps in the Algerian desert, along with thousands of other Saharawi who were removed from their homes in the Western Sahara. Her grandmother was a famous Saharawi poet, her mother well-known as a vocalist, and they passed their strength and fearlessness to her. Now, as one of North African most lauded singers, Brahim uses her position to make the plight of her people known -- and of the refugees across the world who have no choice but to exist in the camps. Sahari is for them as much as it's for her own family. The political remains intensely personal for Brahim. She lives in exile, in Spain, and the music for Sahari -- her third album for Glitterbeat -- was written there. And while her songs remain grounded in her homeland, her gaze is increasingly global. To achieve that, Brahim worked with the acclaimed Spanish artist Amparo Sánchez of the band Amparanoia on the album's pre-production, and the collaboration has made a transformative impact on the music. The focus is broader, with programming and keyboards a vital part of the new sound. The different approach extends to the very root of Brahim's music, the tabal drum that's been the heart of Saharawi music for centuries. The process was made smoother by having a sympathetic band who've been with her for years. All the members played a part in framing the new material. When Brahim began as a composer, her work reflected her own reality, growing up in the far, rocky desert known as the hamada. These days she's become a voice for refugees across the globe, and what she sees every day on the news has inevitably affected her writing. Perhaps Aziza's empowered, healing music, can help refuel our sense of justice and compassion.
PRICE: $15.50
CAT #: GBM 003CD
JEWISH MONKEYS Catastrophic Life CD
After Mania Regressia (2014) and High Words (2017), Tel Aviv's grandfathers of punk are back to present their latest album Catastrophic Life. Grandfathers of punk?! Not all band members will agree. In fact, several talented young bloods joined the ranks of the Jewish Monkeys over the past years, flashing polyphonic brass and shredding guitar riffs to keep the old guys on their heels. The ten new album tracks were all written by the band itself and see the expedition venturing into unfamiliar territory. Fans have become well aware that popular shtetl tunes blended well with ska rhythms. This time however, they up the dosage, adding Afrobeat, reggae, and funk licks, Caribbean flair, wild guitars as well as a pinch of Balkan sauce to the driving mix. While their biting, satirical verses are quick to rub salt in the wound, the Monkeys are equally prone to address their own inadequacies as they come to terms with old age, impotence, lying politicians, and the incessantly rising temperatures on planet Earth. Social criticism is simply part of the game as is Jewish humor and a knack for emphasizing one's personal shortcomings: Indeed, it is a Catastrophic Life for all those hopelessly married forever, claims a song from the album, but there's always hope. For "All the Great Things" always happen when you're least expecting them, and in the end, it's all just one "Grand Bazar", a grand mix of cultures and neuralgic points. We're living in a "Robot Age" as submissive victims to the algorithms. We'd be hopelessly lost, were it not for the one they call "My Jewish Girl". And finally, "Punkfurt" takes things back to the city where it all began: Frankfurt. One of their notorious performances was even documented by German public television (ARD). During their regular tours of Germany, the Jewish Monkeys were readily welcomed by audiences who showed great interest in their musical potpourri of Eastern European descent. Let's not ignore the fact that German audiences in particular have a lot to swallow, when faced with the band's relentlessly open-minded and provocative lyrics, but usually break into relieved laughter just moments later. German Hi-Fi magazine Audio put it this way: "The Jewish Monkeys demand listeners leave their sentiments at the door. This Tel Aviv-based outfit employs an aggressive mix of cabaret, circus marches, Frank Zappa-ish horseplay and klezmer punk to shock its audiences; Jews and Gentiles alike!"
PRICE: $14.50
CAT #: GOG 003CD
BRIX & THE EXTRICATED Super Blood Wolf Moon CD
Brix & The Extricated release their third studio album in as many years, and the band have changed gears once again. Super Blood Wolf Moon sees the band decimate dimensional boundaries resulting in a body of work that is sure to resonate. Super Blood Wolf Moon is both challenging and addictive in equal measure. At times it touches on dark emotional pain and at other points reaches euphoric bliss. This is an album that has diversity with a focused thread throughout. The record combines top level musicality with deep hypnotic grooves and elements of unforgiving brutality. As has come to be expected, this record is loaded with melodic hooks, riffs, and infectious choruses. These musical devices however simply act as a portal to the beating heart of this band which is the art of songwriting itself. The guitar work is at times dangerous, edgy, and transcendent. The conversational relationship between Jason Brown and Steve Trafford shows a high level of musical intelligence and an intuitive sense of freedom. The legendary Hanley Brother rhythm section are true to form as the engine room of this band. Additional strings and harpsichord, arranged by Sarah Brandwood-Spencer, bring a rich spectral elegance. Lyrically, Smith Start speaks honestly about the uncomfortableness of depression, drug addiction, death, and loss. There is more social commentary on this record than its predecessors with songs like "Dinosaur Girl" (over medicating culture), "Strange Times" (global feeling of despair), and "Wasteland" (climate change and destruction of the environment). Smith Start reflects on pack mentality and the freedom to show your scars in the song "Wolves" and the juxtaposing "Crash Landing" deals with drug overdose and suicide. The album closes with the epic, glorious, and deeply moving "The God Stone" which breaks all bounds of expectation.
PRICE: $34.50
WICKED LADY The Axeman Cometh 2LP
2019 repress. Double LP version. If you are looking for raw, psychedelic hard-rock, look no further -- Guerssen presents the complete recordings (1968-1972) from Wicked Lady, the legendary UK underground power trio led by ace guitarist Martin Weaver, later a member of Dark on their Round The Edges album. The music here was originally recorded in 1968/1969 and features new artwork and an insert with notes by Weaver, who tells the real (and bizarre!) story behind Wicked Lady for the first time. The stuff of legend, this is a real fest of fuzz, wah-wah and heavy riffs that will blow the mind of any hard-psych collector.
PRICE: $34.50
WICKED LADY Psychotic Overkill 2LP
2019 repress; Double LP version. Second volume to complete the anthology of Wicked Lady recordings, their final tracks recorded in 1972, just before the band split up and guitarist Martin Weaver left for Dark (of Round The Edges fame). Another batch of excessive, over-the-top, doom-y psychedelic hard-rock including underground classics like "I'm A Freak" and the 21-minute epic "Ship Of Ghosts." Maximum sound quality, new artwork and an insert with liner notes by psychedelic guitar god, Martin Weaver, telling the real story behind Wicked Lady for the first time.
PRICE: $22.00
GIRLS IN SYNTHESIS Pre/Post: A Collection 2016-2018 LP
This collection of scarce and sought-after recordings was originally released by Louder Than War and sold out pretty much straight away. Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic. Pre/Post sees Girls In Synthesis compile their three previous EP releases and also sees inclusion of their debut single The Mound/Disappear, never released before on vinyl. Experimentation has seen them transgress the punk bracket into something more original and unique while stage shows present a complete and controlled spectacle, with the group moving from playing on stage to dragging equipment into the audience, desperately trying to remove the group/audience barrier. Their explosive shows have seen them hand-picked for support slots with bands as disparate as Bad Breeding, Slaves, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Wolf Alice, Warmduscher, and Damo Suzuki. The lopsided, fuzz groove of "Disappear" rubs shoulders with the bass-driven, future crowd favorite "The Mound" to add up to a frantic and stripped-back, stunning calling card. Follow up EP Suburban Hell saw the group develop the sonic aspects of their music, with the harshness ramped up and subtle but powerful production aspects pushing songs like "Suburban Hell" and "Phases" into harsh, noise-punk territory. Second EP, We Might Not Make Tomorrow, added a slight melodic edge to the previous aural bludgeon, whilst the lyrics to songs like the title track, "Sentient" and "Tainted" explore deeper issues such as the threat of nuclear war, animal cruelty and the outcome of the USA presidential election. The third EP, Fan The Flames, further presses into deeper lyrical territory, with songs focusing on government neglect, anxiety, and mental health issues. The production receives even further toughening up and also features the group's first foray into spoken word in "Howling", albeit with a glitchy, unmusical, harsh noise backdrop.
PRICE: $11.00
CAT #: HJP 089EP
FAMOUS WARD SINGERS/JESSY DIXON, THE I'm Getting Richer/Wade In The Water 7"
A scorcher from the golden age of gospel, via its cardinal label. From 1960, during the family's second decade with Savoy, featuring Gertrude Ward, Christine Jackson, Mildred Means, and Vermettya Royster -- and Clara, totally riveting and in-your-face with evangelistic fervor and raw soul. Plus, a rambunctious, floor-filling "Wade In The Water", by Jessy Dixon and his Singers. Handsomely sleeved (showing a contemporary but slightly different Wards lineup).
PRICE: $12.50
CAT #: HJP 090EP
METRO-TONES INC., THE Get Together 10"
Dedicated "to the United Nations and especially young people", this is slow-burning, steeply screwed, early-seventies Atlanta funk by James Conley and company, spun out of a line from Eliza Hewett's nineteenth-century hymn, "When We All Get To Heaven". The flip is deadly, too: a super-soulful blend of Sly & The Family Stone with Kool & The Gang, movingly confused and sincere in its pleading (without threats or machismo) to be loved back. Both sides come with instrumentals. Check part two of "Get Together". Beautifully sleeved.
PRICE: $11.00
CAT #: HJP 091EP
MORENO/THE HELEN HOLLINS SINGERS, EDITH Get Ready For Judgement Day/Jesus Will Give You Love 7"
Red hot gospel soul from 1983. Only ever issued as a test white-label; never before released commercially. Plus some classic early-eighties soul vibes on the flip, as Helen Hollins -- from James Cleveland's Southern California Community Choir -- magnificently busts loose Burt Bacharach, strutting resplendently onto the dancefloor with her dad, husband, and two daughters, Alicia and Francheasca, in glorious cahoots. Lovely spot-glossed sleeve. Devilishly limited, all three of the Savoy singles.
PRICE: $25.50
CAT #: HOS 643LP
VATICAN SHADOW Kuwaiti Airforce 2LP
The rarest of all Vatican Shadow's tape releases (only 25 were made), Kuwaiti Airforce now appears on double vinyl alongside obscure cuts and previously unreleased collaborations with Silent Servant and Demdike Stare in the fourth vinyl collection of early, hard-to-find VS editions. Back at the start of this decade the underground conversation between noise, techno, and ambient music manifested definitively through Vatican Shadow's eerily evocative glut of tape releases for Hospital Productions. Clad in militaristic imagery and titled after phrases lifted from media articles about the War On Terror, the project became one of very few to contemporaneously attempt to musically reflect the state of international geopolitics, and did so in a manner that resonated with the subversive post-industrial music and politics of Muslimgauze and Whitehouse -- who were both key touchstones for Dominick Fernow (Prurient, Vatican Shadow, Rainforest Spiritual Enslavement). The Kuwaiti Airforce tape which lends this set its title was only available in edition of 25 copies at Vatican Shadow's September 29, 2012 show in LA with Silent Servant, Demdike Stare, Andy Stott, and Kangding Ray. Its two bombed-out blasts of rhythmic noise are now available on the first disc here, backed with two previously unreleased works written in 2012: a deep, rolling techno collaboration with Juan Mendez, lodged somewhere between his Silent Servant output styles for Sandwell District and the seminal Negative Fascination LP (HOS 357LP); and a more messed-up, sub bass-mired rework by Demdike Stare, who were still clearly in the mood surrounding their classic Elemental LP (LOVE 1077CD). The second disc however highlights cuts from earlier and more obscure releases, rounding up two powerful, even darkly romantic pieces of sturm und drang from 2010's Around The Dragon's Broken Neck... double-cassette, plus his opiated half of a split with Contrepoison and a cranky grinder that was only found on the White Eye Of Winter Watching compilation, both issued by Hospital Productions in 2011. Mastered and cut at Dubplates & Mastering, Berlin.
PRICE: $15.50
CAT #: HGR 034CD
The Cutthroat Brothers are a duo of real-life barbers, the Sweeney Todds of rock, Jason Cutthroat on vocals and guitar and Donny Paycheck on drums. Most notably, you might remember Donny, cofounder of Seattle legends ZEKE. For their new album, Taste For Evil, the duo called on a another Seattle icon, producer Jack Endino (Mudhoney, The Sonics, Screaming Trees, L7, Soundgarden). This album has the North Pacific sound all over. Their songs are about blood, death, drugs, sex, black magic, bad relationships, although not necessarily in that order.
PRICE: $20.00
CAT #: ITR 339LP
"Punk music, at its most effective, its most important, exists at a nexus of a few simple but important ideas. Punk needs to be youthful, it needs to be reactionary, it needs to be short-lived and it needs to be controversial. So for a group of twenty-something Australians, excitable as the frontline first wave of kids responding to both the Ramones and the Sex Pistols (yet still influenced by the New York Dolls and Stooges and Flamin' Groovies), who existed for but barely for a year from 1977-1978 and wrote songs about serial killers, high school girls and hating disco... well, I'd argue they are the most perfect punk band ever. The band was Dave Flick (aka Dave Faulkner later of the Hoodoo Gurus) on guitar and vocals, Rudolph V (Dave Cardwell) on bass and James Baker on drums. Best known for their classic 'Television Addict', that song is but the tip of the iceberg of the band's powers. Having self-released two godhead 7-inches during their brief existence, the seven songs on those singles are absolute cannon at this point. Quintessential, pure, unfuckwithable. And all that is just side one of the LP. Side two contains a bounty of unreleased-for-decades demos of nine otherwise undocumented Victims originals. Demos in name alone, these properly recorded songs brim with all the identifying marks of the known Victims classics... irreverence, taking the piss, murderers and an invigorating youthful attitude. The last thing to remember about punk as a theory, an aesthetic, is that its 'ideas' are all bullshit anyway." --Ben Blackwell
D 77074CD
PRICE: $14.50
CAT #: D 77074CD
LAURANCE & WDR BIG BAND, BILL Live At The Philharmonie Cologne CD
A charter member of the three-time Grammy Award winning, internationally acclaimed group Snarky Puppy, voted Jazz Group of the Year in the 2017 DownBeat Readers Poll, keyboardist Bill Laurance has also been operating outside the confines of that wildly popular genre-bending jazz and funk collective. Recorded in front of an enthusiastic audience at the Philharmonie concert hall in Cologne, Germany, and powered by the renowned 18-piece WDR Big Band under the direction of principal conductor Bob Mintzer (renowned tenor saxophonist, longtime member of the Yellowjackets and leader of his own Grammy-winning Bob Mintzer Big Band), this adventurous outing finds Laurance re-imagining previously recorded works on a much grander scale. "I always imagined these compositions to be played by an orchestra, and it's a rare opportunity to have your music realized with a large ensemble of this caliber," said Laurance. In some ways an extension of Snarky Puppy's orchestral collaboration with the Netherlands Metropole Orkest on 2015's Grammy-winning Sylva (Best Contemporary Instrumental Album). Cinematic in nature with surprises around every turn of the page, Live at the Philharmonie Cologne is easily Laurance's most adventurous outing to date. As the U.K.'s Jazz Journal put it: "If jazz is to continue to appeal to future generations then it needs people like Bill Laurance to renew its relevance."
N 77071CD
PRICE: $14.50
CAT #: N 77071CD
LOOKOUT FARM At Onkel Po's Carnegie Hall/Hamburg '75 CD
In 1975, the NDR established its own festival to provide the then so called "New Jazz" with a home base in the Hanseatic City of Hamburg, which was suffering slightly under the omnipresent and highly respected swing- and Dixieland traditionalists, who provided a cozy, but hardly innovative version of jazz. "Onkel Pö" was selected as a second venue of the "New Jazz" festival -- the club which had established itself as a new home of jazz in Hamburg. Also, for the club the festival meant a substantial boost. Part of the 1975 festival program was a band founded by Dave Liebman and Richie Beirach some two years previously under the enigmatically beautiful name Lookout Farm. The first and universally acclaimed record was released on the German label ECM. Liebman, Beirach as well as bassist Frank Tusa and percussionist Jeff Williams were undoubtedly at the center of this vehement awakening of a newly liberated music; ostentatiously, at the Hamburg festival concert the quartet invoked themes and motives by John Coltrane, back then the visionary leader of everything new in the world of jazz. CD version comes in a jewel case; includes 12-page booklet.
PRICE: $12.50
Tapper Zukie still asks the questions and stating the facts that few artists of his caliber would attain to. His classic Dee-Jay style has been copied by many but bettered by few. Over some of his killer rhythms that he previously worked up while producing fellow roots groups such as Prince Allah, Knowledge, and Junior Ross and the Spears. Alongside some fresh rhythms, he has taken these as a backbone to some further questions and biblical reasoning that needed answering. Tapper tells it as it is on this mighty collection of tunes under the name X Is Wrong. This is the first time this set has seen a proper release only previously being available as a download from Tapper's website. A remarkably great set of songs that finally get the release they deserve. CD version includes two bonus tracks.
PRICE: $19.50
LP version. Tapper Zukie still asks the questions and stating the facts that few artists of his caliber would attain to. His classic Dee-Jay style has been copied by many but bettered by few. Over some of his killer rhythms that he previously worked up while producing fellow roots groups such as Prince Allah, Knowledge, and Junior Ross and the Spears. Alongside some fresh rhythms, he has taken these as a backbone to some further questions and biblical reasoning that needed answering. Tapper tells it as it is on this mighty collection of tunes under the name X Is Wrong. This is the first time this set has seen a proper release only previously being available as a download from Tapper's website. A remarkably great set of songs that finally get the release they deserve.
PRICE: $16.00
"Legacy Chicago craftsman Mark Nelson's latest offering as Pan American is less a distillation or divergence than it is a return to his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate. Motivated by notions of 'moving backward' and tracing roots -- as well as a couple years of hammered dulcimer lessons -- the album's nine songs were written and recorded in his home in Evanston, Illinois, and honed during a recent solo tour in Europe. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career. Nelson cites everything from June Tabor, The Carter Family, Suicide and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: 'What does music do, Where does music start? How simple can it be? How honest can it be?' After decades of mining post-rock pathways and latticework electronics in Labradford and early Pan American, A Son strips away ornament and distraction in favor of a direct gaze into the heart of what is."
PRICE: $23.00
GIRAFFE Desert Haze LP
"Experimental trio Giraffe crystalize time on Desert Haze, their new LP on Marionette. Giraffe is the musical project of Sascha Demand (guitar), Jürgen Hall (keys), and Charly Schöppner (percussion). Sascha Demand is a composer that comes from a contemporary and improvised musical background, collaborating with the likes of Ensemble Integrales and Vinko Globokar. Jürgen Hall works in electroacoustic experimental projects, theatre and film scores, with releases on Staubgold and Edition Stora. Charly Schöppner is known for his popular music releases such as Boytronic on major production companies in the 1980´s and composes for theatre, dance, and film scores. With only a couple of releases to date on the wonderful Meakusma imprint as well as an EP on Marmo, little is known about Giraffe. After letting go of other artistic projects, the trio now focuses solely on Giraffe by continuously searching for and finding their own unique language. Sascha, Jürgen and Charly have quite diverse musical backgrounds, though morphing into Giraffe they tower into one single composer. Their music is a critical statement, not in a political sense but rather an artistic one. Being mindful about what it means to create and how to position themselves as artists nowadays (without the constant hassle of being en vogue and short-lived trends) shaped their rather rare and stoic artistic stance. It is refreshingly honest to see their expression develop so naturally. On Desert Haze, they've created a vibrant and minimalistic tribal sound that feels inspired by the Saharan traditional music of the Tuareg, Jazz, and German psychedelic krautrock. Giraffe themselves also list the radical music of the Viennese School (Schoenberg along with his pupils Berg and Webern) as well as the Köln School with its early electronic experiments as their main influence and inspiration. More precisely the composition process and the organization of musical material within space and time, where a conceptual and intellectual approach melds with an experimental yet expressive sound searching method. Side A focuses on the trios studio work; it is built around tone color and pitch analysis of resonating prepared guitar sounds. Through a unique mixture of free improvisation and a serialism "rule set", they develop instrumental layers and structures to form their tracks. Side B sees Giraffe playing more freely with a reduced setup - representative of what you may hear when listening to them live. Desert Haze, along with its track-titles, showcases an almost mimetic approach to art. The haptic music grabs the listener not as a passive recipient but as an active resonant body to vibrate through. One can almost feel the Elements, pressure and heat forming a diamond, hypnotic overtones ringing through windy caves, shamanistic rhythms conjuring up mysterious and ancient landscapes -- where the constant cycle of sedimentation and erosion reveals structures of fragile beauty -- always gentle to the hand's touch and the mind's eye."
PRICE: $14.50
Günter Schickert, krautrock maestro of echo-driven psychedelia, returns on Marmo Music one-year-and-half after the release of the Labyrinth LP (MARMO 001LP, 2018). Mauerharfe consists of old and special material, which has officially never seen the light before. Berlin, August 1990, first post-wall Summer. Two friends, the locals Günter Schickert and gallerist Peter Unsicker perform a spectacular yet symbolically intimate interpretation of those epochal changing days by building a sound installation with a damaged piece of the Berlin Wall. They persuade the patrol "Feliks Dzierzynski" of the DDR army to transport and relocate a piece outside Peter's Wall Street Gallery on the Zimmer Strasse, in the borough of Mitte, where only a few months back the intact structure actually passed through. Once the wall was positioned, they bend down the bars of the iron structure that crop out the concrete, bind piano chords to them, stretch the strings down to the bodom base of the construct and connect guitar amplifiers to the set up. The Berlin Wall is ready to be played as a harp. Günter Schickert's Mauerharfe are executed between August and October 1990, resulting into three long field recordings. "Aufnahme bei Mauerblu?ten, Sommer 1990" features a 19-minute long piece. The tape-induced background noise lays down a carpet of haunting atmospheres and introduces the experiment. Günter starts to test the chords by pulling out, with his fingers, dry and acid timbers. The warm-up evolves by investigating wider sinusoidal waves and dilated metallic riffs. The track takes the form of a more conventional music narration, as the artist bangs the harp with a sort of rudimental violin bow creating marching percussive patterns. On "Zwei Spuren nacheinander aufgenommen, Herbst 1990", a similarly long take opens up with ferocious urge, like being catapulted into a warfare between iron and cement. As the strings get hit and pulled, the metal seems to crash into thousands of pieces, dissolving into merciless distortions. The third piece (CD-only), "Mauerharfe 3", is a 30-minute long performance dated August the 13th, 1990. As Schickert recalls, 29 years before exactly on that same date, the construction of the Berlin wall was accomplished. The recording is cleaner than the previous two, giving more width and definition to the sounds resulting in discrete and meditative, deep, gong-like percussive timbers. Includes exclusive pictures, liner notes, a prose poem by Peter Unsicker and some draft writings by the artists with reflections on the project.
PRICE: $25.00
LAVENDER FLU, THE Admiration For A Dancer LP
"Radically different new Lavender Flu album, Admiration For A Dancer. Spontaneous jams captured without everyone even aware they were being recorded. Everything was improvised on the spot and there are no guitars: just synth, drums, synth percussion and some bass. It was all recorded live to 1 microphone and nearly all of it on a Sunday afternoon in January 2019. Edited by Scott Simmons. Mastered by Justin Higgins. Edition of 275 numbered copies on MEDS."
PRICE: $33.00
MUM Yesterday Was Dramatic - Today Is OK (20th Anniversary Edition) 3LP
Repressed; triple LP version. Gatefold sleeve. Morr Music present a 20th Anniversary Edition of múm's Yesterday Was Dramatic - Today Is OK. In 1999, on December 23rd to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album Yesterday Was Dramatic - Today Is OK. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn't pay attention to some kids selling records on Reykjavík's high street. Thankfully, those ten tracks weren't overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: a note-for-note representation of "Smell Memory" by Kronos Quartet (with additional drums by múm's Samuli Kosminen), a gentle reinterpretation of "Random Summer" by acclaimed pianist and composer Hauschka and an otherworldly new version of "Ballad Of The Broken String" recorded by label mate Sóley. In 1999, electronic music was in full bloom. Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random, and forgettable. New ideas require new mindsets after all. With Yesterday Was Dramatic - Today Is OK, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes, and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Combining drill-and-bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock's boominess, folk music's soulful brittleness, and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize. Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. Includes four remixes produced in the early 2000s by Ruxpin, Bix, µ-Ziq, and Biogen.
PRICE: $15.50
After his collaboration with Sóley and múm's Örvar Smárason for the 2018 album Team Dreams (MORR 150CD/LP), Sad Party sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang's trademark knack for catchy melodies, rich sonic textures, and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon's many different musical facets into a consistent and irresistible flow. Sad Party was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. "It had a wonderful view, something most music studios do not have," says Sigfússon of the place, where he had spent so much time recording, drinking, and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last Sad Party. Aiming for the music to be "not too fast and not too slow, not too loud and not too quiet", the songwriter followed a radical stream of consciousness approach for the lyrics. Starting with lush and warm drones, the opener "Planet Arfth" sets the mood for Sin Fang's fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say -- but we're going to make the best of it, counters the slow hip-hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds ("Hollow"), Sad Party slowly picks up speed with intricately built rhythms ("No Summer"), piano-driven power pop ("Smother") and even IDM-influenced electronica ("Goldenboy Is Sleeping"), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet. After a wonderfully psychedelic gem ("Happiness"), a hazy mid-tempo rock ballad ("Never Who I Wanna Be") and a shimmering downbeat piece that highlights Sigfússon's abilities as a producer of experimental electronic music ("Cloudjuice"), "Constellation" serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity. Here's to old places, new beginnings and, most of all, Sin Fang!
PRICE: $14.00
CAT #: NMS 007EP
ZEDZEED Kindness EP 12"
DJ Puma presents Zedzeed.
PRICE: $14.50
2018 release. Olindo Records present the second release and first LP on the label, by London-based Afro-Latin jazz quintet Waaju. A project that never stands still, Waaju's members have been busy as part of other ensembles (Caravela, Bahla, Jordan Rakei, and Ashley Henry, to name a few), which means they cherish each time they get to make music together. The five cuts on this album are only a snapshot of what they're doing and continually try to do -- the tip of the iceberg -- but one that speaks volumes about their intentions. Kicking off the album is "Ali's Mali" is an ode to the great Malian guitarist Ali Farka Toure, but seen through a different lens, as he did himself in reinventing West African music. His spirit is transcended into the modern soundscape mixed with dub, electronic music, and echoes of Cuban batá drumming, reminiscent of the two countries' cultural exchanges throughout the 20th Century. "Kaolack" draws from a Senegalese rhythm found in sabar and mbalax music. It's transformed into a gritty, surging groove with heavy touches of psychedelia and smatterings of traditional sounds pulsating from its textures. "Neleh" explores different sides of a love song and has a myriad of influences displaying different characteristics. Tinges of yearning Tuareg music from Northern Mali, sizzling son percussion and delicate chimurenga-fused guitar, together presenting an introverted, drifting piece with twists and turns. "Waaju" is influenced by the samba funk of 1970's Brazil combined with the more widely known Louisiana funk of The Meters, et al. Its irresistible lilting rhythm and infectious energy are brought into a new modern jazz sphere displaying the spontaneity in improvisation of each member. "Maroc" draws from the chaabi music of Morocco and Algeria, which bandleader Ben experienced firsthand whilst in Marrakech. Much less known internationally than Moroccan gnawa music, its heavily syncopated drum rhythm creates a frenzy of energy, which is interpreted here much more slowly and dirtier in character, with dubby bass and dissonant harmonies.
PRICE: $14.50
CAT #: HUM 029CD
HURTLING Future From Here CD
Future From Here is the debut album from Hurtling. Jen Macro, their guitarist and singer, wrote most of the songs while touring in My Bloody Valentine. The album kicks-off at the "Start", a beginning of sweet melodies and a love song from "me to you", crunching straight into "Memory Cassette", a sun-drenched medicine for melancholy. "Feel It", bold and courageous dives deeper into darker spheres, while "Summer" paints beautiful melodious colors over the top of your sunscreen, lifting you out of your melancholy gently and purposefully. The more luscious pop tones of "Eb One", or "Alone", are tales of love and loss, contrasting with the heavy, crunching agitation of "Please Don't Know Us". The journey is characterized in "Call To Arms", Jen's voice drops to a whisper, in a courageous desire to move stridently into the future. Influences include The Breeders, Elliott Smith, and Sonic Youth, to name a few, as well as reflecting the dreamy, hazy atmospheres of My Bloody Valentine, whose live band Macro has been a member for a number of years.
PRICE: $25.00
Repressed. Otoroku present the first vinyl reissue of Louis Moholo Octet's Spirits Rejoice!, originally released in 1978 on Ogun Recordings. One of the most legendary free jazz records ever produced, Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody. Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti, and Kenny Wheeler, this is former Blue Note artist Louis Moholo's first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza's 'You Ain't Gonna Know Me 'Cos You Think You Know Me" alone is enough to make your life a better place. Made with permission and in association with Ogun Recordings. Features an exact reproduction of the original artwork and liner notes, along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi. High gloss sleeve; edition of 1000.From Matthew Wright's new liner notes: "The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout -- Evan Parker and Keith Tippett on 'Shine Wherever You Are'; the contrasting trombone styles of Nick Evans and Radu Malfatti on 'You Ain't Gonna Know Me...'; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler's moving and all-encompassing trumpet on the elegiac 'Amaxesha Osizi' and the joyous flamboyancy of 'Wedding Hymn' with Parker's relatively straight-ahead tenor and Tippett's dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis' early hero, Big Sid Catlett, would have loved it!"
PRICE: $25.50
CAT #: OSR 077LP
VA Louisville In The 60s: The Lost Allen-Martin Tapes LP
14 tracks from the Louisville late '60s/early '70s garage-psych scene. These cuts (all of them previously unissued, except for one originally released on a rare 45) were found in the archives of the city's well known Allen-Martin Studio, after the owners retired and the place closed down. Including some rather well-known names, such as The Rugbys, The Illusions, The Keyes, and The Oxfords, as well as more obscure local heroes like Free Reign, The Premieres, Roc, and Conception. Highlights include fabulous psych rockers by The Rugbys and The Oxfords; fuzzed-out garage by Blues and The Illusions; psychedelic hard-rock by Babylon and Free Reign; jangly teen beat by JB and The Young Wheels; killer psych covers of The Beatles and Traffic by The Keyes and Company Front. Also features Brothers Pride, The Waters, and Copperfield. Master tape sound and insert with liner notes and photos.
PRICE: $20.00
TB A Call For Romance LP
Based in Munich, Germany, the producer, part-time DJ, and Permanent Vacation label co-head Tom Bioly, aka TB, delivers new romantics, inspired by influences like The Cure's "The Holy Hour", Boards of Canada's late '90s electronica, Miami Vice tropic percussion, and Angelo Badalamenti's Twin Peaks. Acid drops, string distortions, lush melody bits, hushed robo vox, and washed space guitars are being layered and sprinkled over machine beats and disco drums. TB's first release "Invitation To Love" made it on John Talabot's vinyl-only Hiverned 10" imprint (2012) and was voted amongst the best 10" releases by UK Fact Magazine. The title track on follow-up EP City Girl on Permanent Vacation (2015), was licensed to the independent film All These Sleepless Nights by director Michal Marczak. In 2017, TB followed with Heartbreak Hotel (PERMVAC 166-1EP), a double twelve-inch release with eight tracks of melancholic dance noir set in smoke-filled darkness. In 2018, he followed with the Night Heat single, of which a RMXD EP with contributions by Gerd Janson, Sascha Funke, DJ Hotel, and Bostro Pesopeo. Includes printed inner sleeve and download code.
PRICE: $23.50
CAT #: PHS 002LP
2019 repress. Turkish band Bunalim (Turkish for "Depression") is a true legend: They were the absolute wildest and crudest band from the Anatolian rock scene. Under the wing of Cem Karaça, who was their manager and producer, they released a few singles which are all collected here. Fierce Turkish folk-flavored psychedelic fuzz-rock circa 1970-1972. Remastered sound, including an insert with liner notes and pictures.
PRICE: $33.00
CAT #: PHS 010LP
VA Sedayeh Del: Funk, Psychedelia and Pop from the Iranian Pre-Revolution Generation 2LP
2019 repress; Double LP version. Includes an insert with liner notes and photos. Pharaway Sounds presents the fourth volume in a series of compilations highlighting fiercely rare 45s from Tehran's pre-revolutionary golden age. Vivacious ladies with sassy Dorothy Hamill haircuts and skin-bearing pantsuits were once plastered across Tehran's newsstands. Those gorgeous sirens and their hunky male counterparts made all the teens sway to hand drums that boinked in 6/8 time. Plush brass and string arrangements took their cues from Latin grooves, psychedelic guitars, ritzy soundtracks, and sugary pop from the West. Within months of the 1979 Islamic revolution, pop music was labeled a symbol of the previous regime and became illegal overnight. In those same months, it also became illegal for women to be in public without conforming to the hijab dress code. By hook and crook, these little round records survived, and they attest to a time when Tehran's homegrown and exiled populations would have been united in an easygoing love for funk bass and buzzing synthesizers. Hear the tunes that rivaled the hits of Googoosh and Kourosh by singers who only recorded a few precious singles, but don't think for a minute that Tehran's nightingales have run out of surprises for your ears. The discoveries are just beginning.
PRICE: $15.50
CAT #: PGM 101CD
Since 2002, Mando Diao have released seven studio albums that have sold more than 1.5 million copies worldwide. In their career they have played more than 1,500 concerts in more than 30 countries, and have headlined major festivals throughout the world. Their videos have become viral phenomena with tens of millions of views on YouTube. They have released a B-side and a Greatest Hits collection and even an MTV Unplugged album and DVD. Many contemporary bands have come and gone but the group has continued to reach new heights and re-define popular music. They are known for their classic, straight-up rock and roll sound, starting their career drawing on heavy influences from rhythm and blues, The Beatles, Rolling Stones, and The Kinks. As they developed their own music, they took in more pop and dance themes, but have always maintained the energy and attitude of early rock paired with Björn's unmistakingly soulful voice. Mando Diao now release their eighth studio album. A straight-forward, non-compromising album completely 100% written, recorded, mixed, and produced by the band themselves. An energetic, dark and very personal album that is spellbinding, powerful and their best work to date. Explosive, in your face and simply bang!
P 028LP
PRICE: $29.00
CAT #: P 028LP
DJ NIGGA FOX Cartas Na Manga 2x12"
DJ Nigga Fox's most substantial release to date sets a new benchmark for Lisbon's revered underground ghetto dance scene, pulling traces of jazz, acid house, and cinematic sound design into his deeply rugged and exceptional sound with effortless style. Highlighted as one to watch in Lisbon's virulent club scenius since appearing on the Bazzerk compilation which introduced many ravers to Kuduro in 2011, DJ Nigga Fox's productions have become acclaimed for a mix of abstract weirdness and proper dancefloor impact that's hit 'floors hard across the world. Following 2018's Crânio 12" and remix of How To Dress Well, he now returns to the Príncipe powerhouse, home of his first trio of 12"s, with a definitive statement that arguably ranks among this year's strongest, rhythm-driven LPs, bar none. In a way that mirrors UK dance music's transition in the '90s from hardcore jungle to garage and D&B, or in the '00s from grime and dubstep to more "sophisticated" styles of deep house, broken beats, and UK Funky, Nigga Fox's longest release to date appears more layered, plusher and, ultimately "musical" when compared to his earlier work. Using sparing but knowing dabs of noirish jazz keys, live-sounding double bass, and off-kilter synth tones, he binds rippling, colorful flesh to his flexing, bare bones drum torque in a bold way. This inch-tight refinement of Nigga Fox's already distinctive style is characterized by the twisting, unpredictable arrangement of "Sub Zero", where stealthy waves of swinging drums and vintage horror movie tropes are ramped with feral electro scuzz to killer effect, or equally in the freaky tension between lissom jazz chords, jaws-harp buzz and wild acid lines on "Faz A Minha", and likewise the way he meshes roiling drums with complex, asymmetric electronics on "Vicio", or simply forges his own, outstanding form of slow, psychedelic dance-pop replete with his own, Quasimodo-styled vocal in the shocking closer "5 Violinos". By any measure Cartas Na Manga is a singular album-length EP that stands miles out from the crowd. Its only comparisons really lie within Lisbon's club scene, with the likes of DJ Firmeza, Marfox, or Nervoso. As such it's best taken as symptomatic of their collective scenius, and is keenly ready to be mixed with music from all corners of the Black Atlantic. Special "modular" sleeve artwork design by Márcio Matos. Edition of 500.
R 045LP
PRICE: $24.00
CAT #: R 045LP
DAVACHI, SARAH Let Night Come On Bells End The Day LP+CD
2019 repress. Recital present the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "avant-garde" (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music... especially in a live context. Recital label head Sean McCann: "The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty." Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which may hints of her love for progressive rock music -- and "Buhrstone", comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics..Sean McCann: "I find it hard to separate 'At Hand' from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship -- frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul."
R 069LP
PRICE: $24.00
CAT #: R 069LP
Sean McCann on Puck (September 2019): "Puck is here. Music For Public Ensemble (R 022LP), my previous album, was released three years ago. And three years before that was Private Ensemble. Puck is both public and private in nature. A smear of chamber works from Stockholm, Moscow, New York, and Kansas. Three aged personal recordings from 2008, 2009, and 2010 are also poured in the batter: a bedroom violin trio, ambient music, and a sad plucked guitar piece. A marbled blend of new chamber works and older, boisterous recordings from the late-2000s. The first side is subtitled 'Folded Portraits' -- a three-part suite: 'Nightfall', 'Broth', and 'Damals': German for 'back then' (or Remember When: the lowest form of conversation). The spine of it is an informal rehearsal session of Portraits of Friars (2018). Recorded at the fabled Fylkingen in Stockholm, the ten-person text and chamber piece grows and shrinks. False starts and stops and tests are outlined with the black ink of editing. Little moments become big moments. Nailed above that spine is Folded Rose (2018), a piece for piano and humming. A dainty march out of context, immersed in recordings of me gagging and yowling in my car. Sound artist Lia Mazzari shared the titular spoken piece with me. 'Puck,' a duet for dialogue about eggs and jewelry, premiered at Café OTO in 2018. I recorded my text in a dark bathtub in Toronto on my 30th birthday last year. The text is a mold growing on top of a quintet I wrote called Vilon (2017), sweetly performed by the Russian Kymatic Ensemble. Jackson Graham, skilled American percussionist, is a rod bolted through the album. He commissioned a work by me called Violet Fat (2017), which is spliced across both sides, hammered and bent to fit in place. A fusion of jubilation and gut clenching, Puck balances on the rooftop, tipping side to side in the fog." Includes 12-page "Puck" pamphlet and two art cards with program notes and recollections. Edition of 500.
R 070LP
PRICE: $24.00
CAT #: R 070LP
The second album by the American Gamelan composer and instrument builder, Daniel Schmidt, following In My Arms, Many Flowers (R 017CD), his majestic debut on Recital. Abies Firma lies next chronologically, collecting works from 1976 to 1991, considered the second phase of his compositional form. "We were like children playing with new toys," Daniel recalls of the early days of American Gamelan music. "Though, as we moved into the 1980s, I moved away from Javanese traditional formalism completely, no longer using a constant stream of notes." Daniel became a father twice over in the early '80s, transforming his compositional voice, finding himself open to new affects. Notably, the Sierra fir species, 'abies firma' -- "These trees gave me a sense of rising and rising, all their branches reaching toward sun and sky. Looking at them across open spaces, I felt myself part of their upward striving. The tall mountain trees became rising themes and arpeggios, sometimes even sweeping across the six octaves of the gamelan." This album holds a variety of recordings including an especially immersive tape-delay piece for the rebab, a bowed Javanese instrument. A sort of Eastern Frippertronics weaving the stereo field. Another standout is a semi-improvised flute and gamelan work, ebbing in slowly like a night's wind. "Accumulation" and "Abies Magnifica", the spirited opening pieces, exemplify the precision and dexterity of Daniel's group, The Berkeley Gamelan, who at this time were constantly performing around North America. Two pieces on the album were co-composed by Schmidt and the late Lou Harrison, who helped conceive of the American style of gamelan and enjoyed a similarly long and varied musical career. "Unempins to Sociseknum" is based on arranging Harrison's social security number against Schmidt's unemployment insurance number. A window into the cooperative spirit and experimentation of the late 70s. LP comes with a CD including the additional piece "One White Crow," a three-part tapestry of melodic fragments which epitomizes the second phase of Schmidt's composing; a divergence from both Javanese and European music. Daniel states, "William James once said that one white crow would suffice to overturn science's assertion that all crows are black. I felt myself to be 'one white crow' amidst the prominent, established musical styles." Includes 20-page pamphlet holding program notes, scores, and a new essay on American Gamelan by Jay Arms.
PRICE: $14.00
COSMIC DEAD, THE Scottish Space Race CD
Heavy psych experimentalists The Cosmic Dead's eighth album -- Scottish Space Race -- is set to be released via Riot Season. The album was recorded in their Glasgow HQ with cosmic sound guru Luigi Pasquini, four sprawling chunks of music recorded live amongst a run of momentous late-night festival appearances in the summer of 2018. Scottish Space Race is the first Cosmic Dead release to feature the drumming of Tommy Duffin (Headless Kross) and the lap-steel synthesizer yowls of Russell Andrew Gray (Girl Sweat) alongside long-time cosmicians Omar Aborida and James T McKay. Mastered by John McBain (Monster Magnet, Wellwater Conspiracy).
RM 4112CD
PRICE: $19.50
CAT #: RM 4112CD
NOVAK, YANN Slowly Dismantling CD
With Slowly Dismantling, Los Angeles based artist Yann Novak problematizes understandings of ambience as homogenous and static. Slowly Dismantling deconstructs ambient, pulling it way from the blank and the atmospheric, refusing the perceived luxury of sound within which context is erased. Reflecting on his formative experiences as a queer youth in middle America, he explores the idea of these acoustic and social spaces as zones of liberation within which a spectrum of identity is formed.From Yann Novak: "The cover of Slowly Dismantling features the remnants of Hotel Washington, home to the LGBTQ+ community in my hometown of Madison, Wisconsin from the '70s until 1996 when it burned down . . . I was 17 when the hotel burned down and had only gone to the cafe a handful of times. What I expected to be the formative site for exploring my newfound queer identity was suddenly lost to the past, and I was left wondering how such a space would have influenced me. What remained in Madison after the fire was only the mainstream version of gay culture . . . Art and music are often identified as 'queer' when they share these same core aesthetics, tropes, and character stereotypes . . . This led me to withdraw; the alienation that came with my introversion made it hard for me to take up space in the world. As my work as an artist and composer progressed, this lack of self confidence became part of my practice. I began using field recordings as a way for me to limit my decision making. I could shape and mold this source material to an extent, but there was always an external structure. While this allowed me to create work that was autobiographical, I was never totally in control of what I was making; thus, I was never fully visible in the work. This all changed following a transformative experience at a queer music gathering in the spring of 2019. I was finally immersed in a queer community that existed outside all dominant cultures, finally allowing me to feel seen as queer without any of the shortcomings the mainstream culture would have me believe . . . As I worked through Slowly Dismantling, it became a liberation from and a reinterpretation of myself. It allowed me to shed my insecurities and routines: grounding my work and process in something outside myself. Instead I choose to utilize digital and analog synthesis, recorded at my studio in Los Angeles and reprocessing recordings captured at MESS in Melbourne and EMS in Stockholm."
RCD 2209CD
PRICE: $14.50
CAT #: RCD 2209CD
As David Fricke points out in his liner notes, this is not just another novelty guest-project, the Krokofant on Q is like a brand-new band. In fact, all the involved are so happy with this album that there's more to come with a bunch of new material already written. After three albums in three years as a trio, and sensing the possible danger of being stuck in a formula, they all felt a need to try something new, taking the band one step further. Especially Tom Hasslan, guitarist and main composer, felt an urge to expand the canvas and sonic possibilities. Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal) was the trio's first choice for a keyboardist. He had seen Krokofant live in 2015 and, in his own words "had an instant kick", so he said yes straight away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) had seen them the same year, and practically invited himself to join up at some time. Hasslan's tunes are perfect vehicles for Storløkken to present the full scope of his playing; from sheer pastoral beauty to full on jazz skronk. The same can be said about Jørgen Mathisen, who is given ample room for soloing. By introducing Håker Flaten and his bass, work was lifted from Hasslan's shoulders while a "proper" rhythm section was born, Skalstad and Flaten instantly bonding. Personnel: Tom Hasslan - guitars; Axel Skalstad - drums; Jørgen Mathisen - saxophones; Ståle Storløkken - Hammond organ and keyboards; Ingebrigt Håker Flaten - bass.
HOM 006
PRICE: $0.01
CAT #: HOM 006
HOUSE OF MUSIC House of Music Issue Six MAG
After a hiatus Rush Hour are back with the sixth episode of House Of Music! Rush Hour's non-periodical fan zine... All kinds of music reaches our ears every day, but a lot of times we don't really understand what it is we're actually listening to. HOM contextualizes only some of our highlights. The sixth issue holds interviews with Wally Badarou, Kamma & Masalo, John Gomez, and D.C.'s Beautiful Swimmers. Sassy J sums up 14 of her favorite records and we get a look inside the astonishing analog Willen Twee Studios & the Analogue Foundation. And more!
SE 007LP
PRICE: $23.50
CAT #: SE 007LP
GOLDSTON, LORI Things Opening LP
Second Editions presents Things Opening by Lori Goldston. Lori Goldston's approach to the violincello is true and immediate. Describing herself as "classically trained and rigorously de-trained", Goldston indeed defies all conformities of genre, style, and technique. Her playing reflects as much of Baroque as it does of American roots or experimental traditions. It is elegant, gritty, restless, delicate, irreverent, utterly pure. This album comprises of two parts, highlighting Goldston as both a distinct composer as well as a many-faceted performer. The first side holds a suite of songs written by Goldston to accompany the poems of Melinda Mueller, while the second features pieces written for Goldston by Jessika Kenney, Satchel Henneman, and Julio Lopezhiler. Recorded live by Mell Dettmer at the Chapel Performance Space and at Studio Soli in Seattle WA, 2018. Mastered and cut by Anne Taegert at Duplates & Mastering in Berlin, 2019. Photograph by Antonis Theodoridis, 2016. Includes printed inner sleeve and download code; Edition of 300.
PRICE: $25.50
VALMONT, FRANCK Et Synchro Rhytmic Eclectic Language LP
Sommor Records present the first ever vinyl reissue of Franck Valmont's Et Synchro Rhytmic Eclectic Language, originally released in 1976. A fabulous French/West Indies Afro-jazz-funk-Caribbean-fusion album, originally released on the Moshé-Naïm label by poet-singer-painter Franck Valmont accompanied by multicultural progressive jazz-rock band, Synchro. Featuring Jo Maka (Intercommunal Free Dance Music Orchestra) on sax, Louis Xavier on bass and fuzz-bass, Georges Nouel on electric piano and organ, Gerard Curbillon from Magma-related prog-fusion band Speed Limit on electric guitar, and Yves Dolphin on drums. Includes "Diamant", "Maléré", and more. Remastered sound. Original artwork; includes insert.
PRICE: $33.00
Sommor Records present the first ever vinyl reissue of Synchro Rhythmic Eclectic Language's Lambi, originally released in 1976. Impressive jazz-rock-fusion with progressive, funk, Afro-Caribbean and Zeuhl elements courtesy of multi-cultural French band Synchro. The band features drummer Steve McCall (Air, Cecil Taylor), sax player Jo Maka (Intercommunal Free Dance Music Orchestra), violinist Jean-Yves Rigaud (ZAO), electric guitar player Gerard Curbillon (Speed Limit), pianist Georges-Edouard Nouel (Noel McGhie & Space Spies), and bass player Louis Xavier (Ladja). You'll find Zeuhl grooves ("Rigibo"), jazz-funk-breaks galore ("A.B.C.D."), Afro-Latin-jazz ("Pasto", "Rete"), library jazz funk ("El Gason"), and many more surprises. Originally released on the Moshé-Naïm label in 1976, here's the first ever vinyl reissue, expanded to a double album including some essential bonus tracks taken from the recording sessions. Master tape sound. Original artwork in gatefold sleeve.
PRICE: $20.00
CAT #: SORC 1002LP
F/I Why Not Now?... Alan! LP
Sorcerer Records present the reissue of Why Not Now?... Alan!, the debut LP from 1987 by Milwaukee space-rock gods, F/i. Available for the first time on vinyl since its initial release, it remains a holy grail item for lovers of cosmic rock n' roll sounds from underground Amerika in the 1980s. F/i had been churning out tape upon tape of experimental electronics since the early '80s. Influenced by krautrock (particularly Cluster, Tangerine Dream, Ash Ra Tempel) and the harsh noise of industrialists Throbbing Gristle and early SPK, by the mid '80s they morphed into a fully-fledged "rock" band, albeit one incorporating all of the above. This LP is the perfect synthesis of these sounds: grimy, lo-fi "rock" with elements of industrial clang and extended, Hawkwind-ish space-rock jams; from the two-step cosmic churn of "Electric Waltz" to the 'Neubauten-style bang and bash of "Zombie Theme". Remastered by Mikey Young. The sleeve replicates the original. Includes download card; edition of 500.
SNDW 12038EP
PRICE: $18.00
CAT #: SNDW 12038EP
Soundway presents the unique results of a one-off 2018 meeting in Marrakech between Belgrade-based tribal/techno/industrial outfit Tapan and the nomadic Tuareg electrified desert-blues group, Generation Taragalte. Tapan is not an ordinary "techno" project, rather it escapes easy categorization. It is the Belgrade-based production duo of 20/44 club resident Nebojsa Bogdanovi? (Schwabe), and Goran Simonoski, a producer behind music projects such as Belgradeyard Sound System, Piece of Shh, and more. Both have been active in the Belgrade music and nightlife scenes since the 1990s, and since 2015 have brought together their diverse musical experience under the collaborative moniker of Tapan. While performing at the Atlas Electronic festival in Morocco in 2018, they encountered Generation Taragalte of southern Morocco, and recorded the initial music for the Atlas EP in an improvised studio on the festival grounds, followed by final production on returning to Belgrade. The result was the four-track EP Atlas, a dark, desolate, and potent collision of the electronic drone-jazz of Belgrade and the windswept, desiccated psych-guitar riffs of the Moroccan Sahara. RIYL: The Bug, The Comet Is Coming, DJ Khalab, Mala, Clap! Clap!, Burial, Tolouse Low Trax.
PRICE: $18.00
CAT #: SVT 263LP
KOLETZKI, OLIVER Fire in the Jungle LP
LP version. Includes download. Part homage, part prophecy: Fire in the Jungle is the eighth studio album from Berlin-based DJ, producer, and label owner Oliver Koletzki, released by Stil vor Talent. With sounds as diverse as the stamps collected in Koletzki's passport over the past 18 months, Fire in the Jungle is a statement in itself: complex, verdant, the product of years of growth. From the arid desert tundra of Australia, to the lush turquoise beaches and sacred sites of Mexico, to the dusty Playa of Burning Man: these rich and varied landscapes, people, experiences have strongly influenced Koletzki in the production of this multifaceted masterpiece. Musical maestro and storyteller Koletzki expertly weaves live instruments with a range of electronic music production techniques, with producers Sam Shure, Township Rebellion, Hidden Empire, Niko Schwind, and Cioz taking listeners on an extraordinary aural peregrination of genres and styles. Lyrical and vocal collaborations with Monolink, Aparde, Temple Haze, and Lisa Who are layered with Koletzki's signature sound, adding their unique influence to this distinctive album. Running the gamut from full-power, bass-heavy dancefloor anthems to slower, more sultry tracks, the dramaturgy of this album is matched only by the eclectic exotica and psychedelia of the jungle. As the Amazonian jungle burns, this versatile and thought-provoking album raises important questions about what sustains and asks you to reconsider the egoism and laziness of the human species. One thing is certain: Fire in the Jungle will set your feet, heart and mind ablaze.
PRICE: $14.50
None less than the infamous ILL_K is making his much-anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas. "Warp 6": Bringing back the original jungle influence into the realm of dubstep, the title track sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub-lines and cutting-edge percussive work. The melody gets repeated and reworked into many different sounds -- sticking in your head until you crave for the next time round. "Ninja Technique": Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, "Ninja Technique" unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe. "Walking Home": On the third track of the release -- and the second collaborative effort -- ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking. Legend has it that the Fiesta parked in the market has still not moved to this day.
PRICE: $14.50
PSYCHIC TV The Evening Sun Turns Crimson CD
A live musical performance to Derek Jarman's In The Shadow of the Sun. Recorded live at Cafe OTO, London, England on May 23, 2017. Derek Jarman's In The Shadow of the Sun forms part of a series of films, shot and edited on S8mm, grouped under the collective title The Art of Mirrors. In The Shadow of the Sun is the longest of these running at 54 minutes. Filming took place between 1972-74 and the film was completed in 1974. When Derek showed the film, he would play Verdi's requiem as an accompaniment. In 1980 the FDK in Berlin agreed to make a 16mm blow up of the S8mm film to be shown at the Berlinale forum. The footage was blown-up to 16mm by John Hall of Colour Technique. Derek felt that the new version should have a new accompaniment and, with this in mind, approached Throbbing Gristle to provide the music. In May 23, 2017, Psychic TV performed two live soundtracks to In The Shadow of the Sun at Cafe OTO in London. The recordings on this LP were made that night. For the realization of this project Psychic TV were: Genesis Breyer P-Orridge - violin; Edley ODowd - drums and percussion; Alice Genese - flute; Jeff Berner - guitar; John Weingarten - keyboards. Live mixing by Matski; Album produced by Edley ODowd.
PRICE: $12.50
TABLELAND Where Techno Come From/Tableland Theme 12"
Tableland is a new techno-leaning project from an established name. Vinyl-only.
PRICE: $19.50
CAT #: TAL 015LP
LP version. Includes download code; edition of 500. This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed Paredo EP compilation (TAL 012EP), which was been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the Super Mild split album is the second outing by Kopy and Tentenko on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music. Tentenko is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BiS. Immediately after her departure from BiS in 2014 she commenced work on her solo project under her artist name Tentenko. Since then she has radically reinvented her music away from glossy J-pop towards weird and industrial rooted dancefloor. Tentenko first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band Hijokaidan. For a few years now, Kopy has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name Kopy very much originates from this "concept". Apart from a few performances at Düsseldorf's famous nightspot Salon Des Amateurs, she has been invited by Lena Willikens to her showcase at the Meakusma Festival in 2018. Her sinister dancefloor mystique is heavily steeped in the free-spirited noise and rhythm cultures of her hometown.
TR 397CD
PRICE: $17.00
CAT #: TR 397CD
COMET GAIN Fireraisers Forever! CD
Here comes the beat of the broken street... "Fireraisers" as in those with flames in veins -- had enough of the never ending spiral of stupidity and hate and greed and religious/political hypocrisy --the inexorable rise of the moron mind and those sleepwalking in their lazy hives letting THEM do this to US... a modern rite to burn away all this to the ground and see what nice flowers rise up from the ground... we imagine an army of disenchanted, beaten down kids becoming modern anarchist magicians drawing dumb sgylls of dada retribution ... "if we all spit together we can drown the bastards".The last LP was a gentler, inner, melancholic hug at 2am and perhaps we would've continued to go down a sweeter road but the state of the world has meant Comet Gain were compelled to turn the fuzz up and make something more brutal and instant. In defiance to their last LP -- now its late-night sadness turns to the angry morning. First take beats ethics. Two weeks of late afternoon 45s listening parties with The Rationals/Nerves/Messthetics/Back From The Grave garage/Fading Yellow comps/The Jam/Dead Moon --whatever had the urge. Trying to figure out how Rufus Thomas would sound if he joined the Swell Maps... condensing it all mixing and absorbing then forgetting it all and propelling the psychic mix tape into an albums worth of angry pop drops and slow howls. Recorded in a living room in North London with James Hoare (The Proper Ornaments, Ultimate Painting) with the help of Joseph Harvey-Whyte (Hanging Stars) pedal steeliest. Then turned into the record it is by drummer/producer M.J. Taylor who also produced Comet Gain's LP Realistes -- the closest cousin to this one... songs about the evil greedy mirage of world religion, Victor Jara and those poets and teachers killed for believing in love and words, about the forgotten who are blamed for everything and can't rise up from their knees to fight back, about the high street Kali-Yuga, occult terrorists with low IQ but high ESP, about the Godfrey Brothers, about Lou Reed's mourning dog on a road trip trying to bury his masters mullet somewhere in the desert, about those stuck in the glory days of their past myopic of the present and all the other usual losers and romantics the band always bang on about -- with added melody and stomp... giving no real answers but pointing fingers and prodding you in the back... in defiance of just staying silent and letting the morons win. So Comet Gain is still alive longer than we should --still trying to be a collective and an idea emerging every now and then with the same grumpy erratic sounds -- this one's louder than the last one but sometimes maybe quieter. And it's filled with love and rage. And it's about 40 minutes long which is always a good thing.
TR 436CD
PRICE: $17.00
CAT #: TR 436CD
Tapete Records present a reissue of Pete Astor's Paradise, originally released in 1992 on Danceteria. With the onset of the 1990s and the conclusion of The Weather Prophets, Pete Astor was in the mood for some artistic regeneration. To this end, he recruited a new group of musicians and friends, forming The Holy Road. The band consisted of erstwhile Felt and Everything But The Girl guitarist Neil Scott, bassist Chris Clarke (soon to become a key member of both The Rockingbirds and Danny and the Champions of the World), and drummer Russell Lax (of The Oyster Band and Billy Childish's Pop Rivets). While much of the UK was -- in the words of Jarvis Cocker -- "standing in a field, sorted for Es and Whizz," Astor maintained his commitment to his version of an English Chanson tradition. As such, he was adopted by a new French audience, coalescing around the anglophile gospel of the influential magazine Les Inrockuptibles who lionized Astor's work -- whether it be "Why Does The Rain?", courtesy of his first Creation band, The Loft, or The Weather Prophets' demi-anthem "Almost Prayed", or his more recent solo work on "Submarine" and "Zoo". And so arrived Paradise, becoming for many the album in which Astor, along with The Holy Road, most perfectly expressed his indubitable facility as a singer and songwriter. All his enduring musical references -- from classic British guitar pop to New-York punk via the blues and even jazz -- seem to blend into a fully-formed vision, one which envisions a kind of mythic America whilst always cleaving to European, and specifically British, roots. Twenty-seven years later, with Tapete's re-release, Paradise is a vital addition to a body of work which sounds as good now as it did then.
TR 449CD
PRICE: $15.50
CAT #: TR 449CD
At the end of the '70s, The Monochrome Set were part of the first wave of "post punk" bands. Right from the beginning, the band earned a solid reputation as purveyors of fine pop, gaining praise from '80s contemporaries such as Morrissey and Edwyn Collins. Importantly, in later years this praise has continued with artists such as Franz Ferdinand, The Divine Comedy, and Graham Coxon, all citing the band as a key influence on their own work. The Monochrome Set sound has often been described as "timeless", and that alone explains why, over the years, the band has continued gaining admirers. Fabula Mendax is based on manuscripts written in the 15th Century by Armande de Pange, a companion of Jehanne d'Arc (Joan of Arc). Follow Armande as she flees her unhinged family, only to be caught up in the chaos of The Hundred Years' War. She encounters and trails the enigmatic Joan, later becoming a part of her expanding group of followers. As they travel west into the war zone of Northern France, they meet a motley medley of scheming noblewomen, bellicose knights, nefarious bishops, and assorted rotters, rogues, and renegades. This is The Monochrome Set at its most ornate, and, much like Joan of Arc's ensemble, features a myriad of fiddlers, pluckers, beaters, tinklers, and wailers, surrounding a central core of notorious crackpots. The hauntingly melodic pop harks back to the early TMS period of "Eine Symphonie Des Grauens" (1979), but is now complemented by a (periodically unemployed) vampire's orchestra, whose cha-cha-charnel chiming careens into carnal rhyming chanting, while saints and demon's trip lightly across the slick red fields of liberty. As with all TMS albums, Fabula Mendax is at once accessible and arcane, upbeat and dark, lush and spare, and with lyrics that as ever remain tantalizingly opaque.
WIRE 430
PRICE: $10.00
CAT #: WIRE 430
WIRE, THE #430 December 2019 MAG
"Clipping -- Los Angeles's radical hiphop trio tap into the power of noise and the narratives of Afrofuturism as they talk to Emily Pothast about horror, destruction and the redemptive power of science fiction on new album There Existed An Addiction To Blood. Plus: Once Upon A Time In Glasgow -- Stewart Smith revisits the crucible of free and improvised music at Tom McGrath's Third Eye Centre when Duke Ellington, Derek Bailey, Julius Eastman and others came to Scotland in the 1960s and 70s; Jahtari and friends -- Leipzig's longrunning digi-dub collective talk to Chal Ravens about 8-bit riddims, the Euro-sound system network and their new label Zonedog; Howe Gelb -- the Giant Sand mastermind takes the Invisible Jukebox test. And much more!"
PRICE: $20.00
CAT #: TMR 576LP
JONATHAN FIRE*EATER Tremble Under Boom Lights LP
"In a world chock full of flame-outs, coulda-been contenders and great white hopes, the band Jonathan Fire*Eater are among the 'almost-est.' Widely praised as the mid-Nineties next-big-thing, they are largely credited with being the earliest purveyors of the 'New York City Rock and Roll Revival' circa 2001. Which would be great, if only the band hadn't imploded by 1998. With the 2019 reissue, Third Man Records is proud to make these seminal songs available digitally and on vinyl for the first time in over two decades. All parties involved are beyond overjoyed to augment the running order of the Japanese version of Tremble Under Boom Lights to include the bonus track 'In the Head.' Touted by the band members as the last song they ever recorded, it is wincingly brilliant, the most artful, dudes-in-their-early-twenties version of a swan song that one may ever hear."
PRICE: $24.00
CAT #: TMR 591LP
ZOUMBAS, ALEXIS A Lament for Epirus, 1926-1928 LP + 7"
"Alexis Zoumbas was one of the most sublime musicians to ever cast a shadow across the face of the Earth and no one has been able to translate the emotions of despair-of devastation-through an instrument as effectively as Zoumbas. Years of research and obsession have resulted in this, the first collection of recordings by the legendary and masterful Greek folk violinist Alexis Zoumbas. Very few Pre-War musicians have tapped deeper into the human soul than Zoumbas and this volume presents his most profoundly hypnotic and unearthly pieces. A deep set of notes based on Christopher King's pioneering research from 2012 is accompanied by previously-unpublished photographs as well as original artwork by R. Crumb. Originally issued in 2014 for Record Store Day, the limited release of the LP immediately went out of print. Faithfully remastered from the original 78s, Christopher King's original version of the LP has been enhanced for Third Man Records by the inclusion of a 7" EP featuring two previously unissued and unheard alternate takes of the masterpieces Epirotiko Mirologi and Doina."
PRICE: $40.50
The Heat Equation is a 100pp book and CD set showcasing a new portfolio of photography work by Joséphine Michel alongside a live recording of Mika Vainio's final performance in the UK, featuring all new material intended for his latest solo CD for Touch. Following their previous collaboration on the 2015 release Halfway to White, Michel and Vainio had been planning a follow-up production, and in March 2017, Michel visited Vainio in Oslo to show him the first examples of the photographs she had been taking with this in mind. Shortly before Mika's untimely death in April 2017, the project took a turn. The new Touch recordings were nearing completion but his hard disk had crashed and the project would need to be restarted. The collaboration turned into a parallel narrative between Michel's perusal of quasi-scientific imagery, captured from museum collections and locations in France, Japan and Peru, and the legacy of Vainio's musical vision, the tension between its heat and its icy precision. Included in the book is a postcard of Michel's tender portrait of Mika Vainio taken at this Oslo meeting. If 'Halfway to White' was an exploration of Michel's notion of sonic photography, this new book presents a vision of a world on the edge of discovery ? whether it be born of science, medicine, space travel ? with 'The Heat Equation' hinting at the transformation of feelings and matter. In August 2016 Vainio performed a blinding set at the Contra Pop festival in Ramsgate, which was recorded off the desk for the purposes of the festival's annual compilation CD. With Contra Pop on hiatus in 2017, it wasn't until June 2018 that the festival organisers contacted Touch to introduce the idea of the compilation. At which point, as if miraculously, Vainio's counterpoint to Michel's work rematerialised in the form of this live festival recording. Remastered by Russell Haswell, Mika Vainio's new music is the equal of anything he released in his lifetime. Bound in a linen cover with foil blocking, Michel's photography is expertly printed on 200gsm Arctic Silk. Accompanied by an introductory text by artist Jeremy Millar, "The Devouring Drop", art directed by Jon Wozencroft and the latest development in Touch's new series of "ear books". Edition of 750.
TU 021EP
PRICE: $14.50
CAT #: TU 021EP
KEEPIN' SOUL Valencia And You EP 12"
After almost a year later, Traxx Underground comes back with a dope EP that remembers the sound from where it all began, garage and deep, all of this by Keepin' Soul.
PRICE: $12.50
DREXCIYA Digital Tsunami 12"
2019 repress. The classic Drexciyan dancefloor moment "Digital Tsunami" is considered the signature track of 2002's Harnessed the Storm (TRES 181CD/LP) album. It is accompanied here by three titles that are not present on the 2LP vinyl version of the album. Harnessed the Storm was conceived as the opening chapter of the legendary Seven Storms -- a series of seven albums created within a single year and released via several labels under different names. This 12" also includes "Aquatic Cataclysm," which ranks with the most abstract, alien, and stark in their catalog. Another masterful lesson in futurist dance music from one of its strongest forces.
PRICE: $12.50
DREXCIYA Hydro Doorways 12"
2019 repress, originally released in 2000. The Hydro Doorways EP complements the vinyl edition of the Neptune's Lair album. The two central items in Drexicya's oeuvre -- Neptune's Lair and Harnessed the Storm -- were released on Tresor between 1999 and 2002 and represent the absolute highpoint of their self-made universe of electro-science. Masterpieces of originality and invention, the legacy created by these two albums cannot be overstated.
PRICE: $17.00
This is for sure no fake news! F4 Fake is the exciting new album by Made To Break, the gripping quartet of Ken Vandermark, mixing jazz, funky patterns, and electronics in groovy improvisations -- interrupted by abstract insertions. Recorded by Daniel Schatz, November 29 2017 at Primitive Studios, Vienna. Mastering by Alex Inglizian at Experimental Sound Studio, Chicago. Mixing by Alex Inglizian and Ken Vandermark. Artwork by Federico Peñalva. Personnel: Ken Vandermark - reeds; Christof Kurzmann - pooll/electronics; Jasper Stadhouders - electric bass; Tim Daisy - drums.
PRICE: $25.50
BISHOP & ED YAZIJIAN, SIR RICHARD Sir Richard Bishop & Ed Yazijian LP
Yet another luxurious spectacle from the Saraswati Series. Ex-Sun City Girls master guitarist Richard Bishop teams up with Cul De Sac's long time Girls live collaborator, Ed Yazijian. Two grand seigneurs of underground deliver a unique album, deeply Western-rooted, filled with the musical spirit and structures of Indian music at the same time. Elegant interplay, brilliantly arranged, using mostly guitar (lap steel, tenor) and strings (viola), and an Indian stringed instrument, and some piano. A classic Saraswati Series sonic adventure. A contemporary classy polaroid, state of the art in today's underground music. Three untitled pieces which came up right Unrock's alley. 140 gram vinyl; one-time pressing.
V 25AH426
PRICE: $23.50
CAT #: V 25AH426
Restocked. Victory present a reissue of Pacific, originally released in 1978. Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of the South Pacific islands, the kind of places Japanese people spend their vacations. Pacific is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of so called "vaporware" music. LP includes insert.
VL 990013LP
PRICE: $21.00
CAT #: VL 990013LP
MAYALL, JOHN Plays John Mayall LP
2019 repress. Vinyl Lovers presents a reissue of John Mayall's Plays John Mayall, originally released in 1965. Recorded live in December 1964 at Klook's Kleek, this version includes three rare bonus tracks. Classic UK blues-rock from the man that helped create the sound. Essential. Clear vinyl.
WLV 82135LP
PRICE: $17.50
CAT #: WLV 82135LP
MAYTALS, THE Never Grow Old LP
Wax Love present a reissue of The Maytals' Never Grow Old, originally released in 1964. Toots Hibbert and his Maytals recording at Studio One with Clement "Sir Coxsone" Dodd at the helm and the legendary Skatalites backing, what more could you possibly want? Never Grow Old is the first full length from the Maytals and Toots' songwriting chops were fully formed right out of the gate, with most of the tunes being co-writes with Dodd. Bob was the king for a number of reasons but Toots may very well be the best male vocalist ever from the island of Jamaica. Real authentic ska from the source.
PRICE: $18.00
SAKAMOTO, RYUICHI Thousand Knives Of Ryuichi Sakamoto CD
Wewantsounds present a reissue of Ryuichi Sakamoto's first solo album Thousand Knives Of, originally released in 1978 on the sought-after Better Days label. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album Paraiso. The album, recorded between December '77 and January '78, featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played on many key albums of the time, such as Taeko Ohnuki's Sunshower (1977) and Tatsuro Yamashita Spacy (1977). This led to an invitation by Hosono to feature on Paraiso. A penchant for avant-garde and improvisation had gotten Sakamoto interested in electronic music early on, and with Thousand Knives he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. Thousand Knives took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux's description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten-minute track buzzing with insect-like synth sounds. Side one ends with "Grasshoppers", a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied", acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skillfully intertwined with a Japanese folk sounding melody. The album ends with two catchy up-tempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia", which both became staples of YMO's and Sakamoto's live shows. YMO's sound included various influences from its three members but there is no denying Thousand Knives paved the way for the group's Computer Music sound. Remastered from the original tapes by renowned producer and engineer Seigen Ono.
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