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Forced Exposure New Releases for the Week of 9/7/2020

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New music is due from Kutiman, Ai Aso, and Anthony Braxton/Jacqueline Kerrod, while old music is due from Tear Gas, Fred Frith, and Toho Sara.

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PRICE: $12.50
Electric Music is The Wolfhounds' follow-up to the Untied Kingdom on Optic Nerve (OPT4 032CD, 2016) and The Complete John Peel Sessions (2018). Having now been recording and gigging for longer than their original 1980s incarnation, The Wolfhounds continue to hone the blade of their sound to outclass their whippersnapper competitors on Electric Music. From the desperate narrator of the opening anthem "Can't See The Light", unable to see an end to his descent into darkness to the sad urban reminiscences of the rural immigrant in "Song Of The Afghan Shopkeeper" and the unwilling draftee in "Pointless Killing", to the powerlessness of people tossed around on the waves of history and progress in "Like Driftwood" -- Wolfhounds ask where our emotional and actual lives are heading, as the world seemingly freefalls into barbarism. With the dreaded feeling that "Lightning's Going To Strike Again", you lack even the appealing soundtrack to the catastrophe of the past described in "... and Electric Music", and the band ask will "The Roaches" once more rule the world (if they ever stopped)? Is the solution to "Stand Apart" from the chaotic crowd or admit, cynically, that "We Don't Believe Anything" and roll with the movements of the masses? Featuring the glowing sleeve notes of comedian Stewart Lee, and a new expanded line-up including electric violin and bassoon from Scritti Politti's Rhodri Marsden, and peppered with the barbed lyrics and stinging guitar of David Lance Callahan and the home-made hybrid stringed instruments of guitarist Andy Golding, the Wolfhounds have never sounded more alive, energetic, and contemporary.
PRICE: $25.00
Aguirre Records present a first time vinyl reissue of Morgan Fisher and Lol Coxhill's Slow Music, originally from 1981. Unique improv/ambient album by two creative minds. Cherry Red generously gave Morgan Fisher musical carte-blanche by offering to distribute a label of his own so, like his studio, he called his label Pipe. For the first album he decided to record an album of ambient music. Rather than using synths, Morgan decided to invite soprano sax supremo Lol Coxhill to supply some raw material which he then processed in various ways. The opening track is based on Lol's beautiful performance of Handel's Largo, recycled through tape delays, VCS3 filters, and octave shifts. The result (in Morgan's opinion) is somewhat like a Mexican funeral march. Other tracks transform the sound of the sax sound into bells(!) and lush orchestral soundscapes. The 20-minute title track is based on the melody of the short closing track (which Lol sang, accompanied by church bells). Morgan recorded phrases from the melody using piano, guitar, bass, and voice. He snipped off the beginning of each note (about 5mm of tape) making the sounds less recognizable, then looped each phrase and recorded long stretches of the loops onto individual tracks of his 8-track TEAC. Finally, he created this piece in real time by fading tracks in-and-out through long tape delays. This pioneering work took weeks of intense experimenting and has been cited as an influence by several top Japanese artists such as Haruomi Hosono of Yellow Magic Orchestra. Lol Coxhill passed away after a long illness, on July 10 2012, aged 79. RIP. Transparent green and black vinyl.
PRICE: $22.00
Wonderful lo-fi synthpop/collage LP by Marseillaise duo Jean-Marie Mercimek. Something has been brewing in France in recent years. Underground record shops, small venues, micro labels, and young musicians are creating a new vibe in various parts of the country. A broad range of styles and genres get randomly mixed into a melting pot with refreshing results. Jean Marie-Mercimek is one of those projects coming out of this new scene. The duo of Marion Molle and Ronan Riou revisits French lo-fi synth pop in a fairytale-like way, utilizing their collection of rare automatic Casio keyboards, frequency modulation chanson, and tape collages towards a multi-layered comic book journey in form of a concert. As if there was an animated wax brush painted cartoon version of Elli & Jacno. Includes insert; edition of 250.
PRICE: $30.50
BLOD Livets Ord 2LP
Low-key synth and keyboard studio album by Swedish all-rounder Gustaf Dicksson. From the early days of the found-sounds recordings -- like the downright scary Unga Röster album (2015) and the hilarious "Mandys Bil" 7" (2016) -- the homespun kitchen recordings/tape collages of the still-going Idiotmusik series to the more carefully elaborated and precise Leendet Från Helvetet (2017) and Knutna Nävar (2018) albums, the massive Livets Ord dropped like a bomb when it originally surfaced as a self-released cassette in 2018. Heavily based on synths and keyboards and clocking in on no less than close 70 minutes over four LP-sides, this is arguably the epic album from the cluster around the Förlag För Fri Musik empire. Gustaf Dickssons's fascination for Christianity/religious assemblies shines through once again, the title Livets Ord ("The word of life") derived from the Swedish free church/sect with the same name that was based in Uppsala between 1983-2013 and casting a pastoral shadow over the ambient music of the album. While dabbling with a long tradition of kosmische musik and private-pressed new age wonders, Blod's now-patented sound of a Björn Isfält-gone-sour still lingers throughout the entire recording. A cornerstone in contemporary Gothenburg underground music. Featuring guest appearances by Emelie Thulin and Jerker Jarold. Includes insert; edition of 300.
PRICE: $19.50
CAT #: NMN 080CD
PALESTINE, CHARLEMAGNE Four Manifestations On Six Elements (Golden 5) CD
2020 restock; 2015 remastered version of Alga Marghen's 2010 reissue of the Sonnabend Gallery's 1974 limited edition double LP. Presented in digipak sleeve with full-color 12-page booklet including two essays, originals score, and visual materials relating to the composition. Alga Marghen presents the fifth installment of its Golden Research Charlemagne Palestine archive series: Four Manifestations On Six Elements, one of Palestine's most well-known works. In 1973 the Sonnabend Gallery in New York commissioned Palestine to make Four Manifestations On Six Elements. "Two Perfect Fifths, a Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre -- sound color -- through exploration of the inert chemical activity in the overtone series of tone fundamentals. This genre of Palestine's work is akin to a kind of sound alchemy, blending elements over and over again in search of the Golden Sound: the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, in the Rhythm 3 Against 2, for Piano" (1973), Palestine uses the resonant Bösendorfer piano to create a more lively and complex variation of tones, intervals, overtones, and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different, as Palestine reinterprets these simple elements and listens within them for variations of amplitude, mixture, and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano is not used, thus focusing on its rhythmic aspect. Gradually, by adding the sustain pedal, the external rhythmic pattern begins to internalize, becoming an inert part of the whole timbral fabric -- a piece expressing the struggle for dominance between rhythm and timbre. In "One + Two + Three" a third fifth is added -- variations of melody and sonority reinforcements culminating in a rhythmic deceleration process. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is an homage to Debussy, Ravel, and Monet. "Three Perfect Fifths, a Major Second Apart, Reinforced Twice" (1973) is the complexification and continuation of track one. A pure and sonorous phenomenon.
PRICE: $19.50
CAT #: FOX 043LP
LITTLE RICHARD Here's Little Richard LP
Alternative Fox present a reissue of Little Richard's debut Here's Little Richard, originally released in 1957. Little Richard's debut launched the career of a foundational figure in music, and featured some of the artist's best-loved hits, including "Long Tall Sally," "Ready Teddy," and "Tutti-Frutti," a song which many consider to mark the birth of rock n' roll. This debut album from Little Richard, newly reissued on vinyl, was the highest charting album of his career, and it ranked #50 on Rolling Stone's list of "The 500 Greatest Albums of All-Time." This is an essential album for any serious rock n' roll collection.
PRICE: $19.50
CAT #: FOX 044LP
Alternative Fox present a reissue of Little Richard's second full-length Volume 2, originally released in 1958. One of the true milestones of R&B featuring all-time hits such as "Good Golly, Miss Molly" and "The Girl Can't Help It" back on shiny black vinyl.
PRICE: $19.50
CAT #: FOX 046LP
DAVIS GROUP, MILES Live at Berliner Jazztage, Berlin, November 6, 1971 LP
A legendary show from the Miles Davis Group recorded from SWR in Germany in 1971, and featuring a breath-taking line-up including no less than Keith Jarrett on electric piano and organ. Live at Berliner Jazztage in Berlin on November 6, 1971.
PRICE: $23.00
CAT #: FOX 047LP
MAHAVISHNU ORCHESTRA Live at Chateauvallon, August 1972 2LP
A great set from John McLaughlin and company, recorded live for German public radio in 1971. Double vinyl set; edition of 500.
PRICE: $19.00
CAT #: AV 309DVD
"Academy Award-winner William Friedkin (The Exorcist, The French Connection) directs Al Pacino as an undercover cop pitched into New York's seedy underbelly in Cruising. New York is caught in the grip of a sadistic serial killer who is preying on the patrons of the city's underground bars. Captain Edelson (Paul Sorvino) tasks young rookie Steve Burns (Pacino) with infiltrating the S&M subculture to try and lure the killer out of the shadows -- but as he immerses himself deeper and deeper into the underworld, Steve risks losing his own identity in the process. Taking the premise and title from reporter Gerald Walker's novel, Cruising was the subject of great controversy at the time of its release and remains a challenging and remarkable movie to this day, with Pacino's haunted lead performance as its magnetic centrepiece."
PRICE: $15.00
CAT #: ALP 048CD
2020 restock. Crucial document of this seminal NYC band from the late 70s, considered by many in retrospect to be the most influential no wave band from the era. A quartet of Sumner Crane, China Burg, Mark Cunningham & Nancy Arlen, they recorded revolutionary EPs for Ze and Lust/Unlust, as well as contributing to the infamous No New York LP."To the uninitiated, Mars may sound like listening to a laundromat magnified. That's because every instrument is making a sound, but who is making which sound? Instead of one direct sound or beat the music travels in at least 3 different directions, speeds of rhythm making a totally orbital sound, one that never really enters the ear instead spinning around the head. At times it sounds like tortured children singing in 7 different tongues." --Stella Doon, 1977.
PRICE: $15.00
CAT #: ALP 201CD
MCPHEE, JOE Nation Time CD
2020 restock, originally reissued in 2000. Atavistic reissue line: The Unheard Music Series, curated by John Corbett. "Joe McPhee's solo album, Tenor literally changed my life. The recording (one of his first for Hat Hut, in September 1976) displayed his unique ability to integrate unconventional sounds and extended techniques with pure melodicism, and it permanently altered my perspective on what the saxophone could do and what music could be. Nation Time was recorded six years earlier, but ideas regarding the integration of means and methods were already at the forefront of McPhee's approach to improvisation. For this concert on December 12, 1970 (the other half of which was released in 1975 as the first Hat Hut LP, Black Magic Man), Joe McPhee mapped out a stylistically expansive set list, one that embraced methods as diverse as those developed by New Thing-era Archie Shepp, late 60s Sun Ra and Art Ensemble of Chicago, Grant Green, Cecil Taylor (Candid period), & Sonny Rollins. He and his band, through vision and work, made these various approaches their own. This set represents real 'free jazz' -- the freedom to pursue the sounds and rhythms that inspire players to improvise with individual vitality and passion, no matter what different kinds of music are represented." -- Ken Vandermark.
PRICE: $15.00
CAT #: ALP 206CD
2020 restock. "For those uninitiated, Han Bennink is one of the founding figures of European improvised music; longtime musical partner of Misha Mengelberg; and co-founder of the Instant Composers Pool (ICP). In short, Bennink is one of the most swinging, adventurous people on the planet. Though he's been active since the early '60s, Bennink remains energetic and irrepressible, and certainly qualifies as one of the great solo improvisers of the century -- at times madcap & go-for-broke, other times harrowing, but always a sheer delight. Recorded for Germany's Radio Bremen in 1973, in the period when Bennink was storming Europe in a trio with Peter Brotzmann and Fred Van Hove, Nerve Beats is a great recording never before issued on CD. It comes from a time when Bennink employed a gigantic setup; metal percussion, tons of extra drums, tablas, an early drum-machine, as well as non-percussive instruments like trombone, clarinet, and various impossible-to-describe objects. A 3 track live concert recorded in its entirety at the acoustically ideal Rathaus, Nerve Beats is also the only live document available of Han performing solo at this time, as his early FMP and ICP records are out of print (and decidedly sought after). Nerve Beats has been mastered from the radio session original tapes and sports new handmade cover art by Bennink (also an accomplished visual artist) and a freewheeling period portrait by outstanding photographer Pieter Boersma. Here's Han Bennink alone and at his most expansive, explosive, and wildly imaginative. Hilarious, razor sharp and not to be taken lightly."
AU 1001LP
PRICE: $30.00
CAT #: AU 1001LP
RUSSELL, ARTHUR Calling Out of Context 2LP
2020 repress. "The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur's vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur's prime years 1985-90."
PRICE: $14.00
CAT #: AUS 134EP
CINTHIE Trust 12"
2020 repress. Cinthie joins the roster of Aus Music with Trust, comprising three original cuts from the Berlin artist. Recent months have seen Cinthie build her own studio and dedicate her time to carefully crafting music. Trust is a product of this time spent and marks the next phase. "Trust" is fuelled by an infectious marimba-style percussive melody, bright tension-building strings and a bumpy bass hook. "Lost At Sea" employs a loosely-flowing organic drum groove, jazzy Rhodes chords and resonant moog style synth licks, while "Hip Swing" closes with up-tempo drums at the forefront whilst murky bass reverberations flow in the depths.
BEWITH 006-7
PRICE: $17.50
CAT #: BEWITH 006-7
TLC Creep/Waterfalls 7"
TLC's "Creep" and "Waterfalls" are both stone cold killers from the golden age of American R&B. Here they are again, back to back on a jukebox 7", just as they appeared back in 1996. Name a more iconic duo. As far as Be With Records is concerned, the mid-90s remains a high point for this supreme musical expression, and these two tunes from T-Boz, Left-Eye, and Chilli sit pretty much at the summit. A pair of canonical guaranteed party starters if ever we heard them. The achingly cool funk of "Creep" was the lead single from TLC's second album CrazySexyCool. Released in 1994 it was the R&B trio's first worldwide smash, and hit number one on Billboard's Hot 100. This is a sophisticated head-nod gem. A breezy horn refrain, speaker smashing beats and the Slick Rick samples blend sumptuously with the defiant lyrics to create an eternal sun-drenched classic. Written from inside the head of a woman who's cheating on her shitbag boyfriend just to feel wanted, Dallas Austin penned the lyrics for "Creep" after talking with lead singer, T-Boz. On the flip, "Waterfalls", also off CrazySexyCool, was no mere follow-up single. This was TLC's version of alternative music, a song with a strong message: "the idea that pursuing anything that's self-destructive, that's chasing a waterfall." To the three of them, this meant "unprotected sex, being promiscuous, and hanging out in the wrong crowd." The message hits home hard, now as much as ever, and it's probably why "Waterfalls" remains their biggest track. But the mighty Organized Noize also deserve some credit. They produced "Waterfalls" after working with Outkast and Goodie Mob and brought along that same in-the-pocket funk, that soulful sound that was their signature. It's maybe easy to forget now, 25 years on, but the track was regarded as groundbreaking when it was released in 1995. Musically, the future-retro sound appealed to deep heads across the board, turning TLC into the mainstream R&B group it was hip for the indie cognoscenti to reference, and those bracing lyrics moved them beyond "just a fun girl group." From then on, TLC were seen as the real deal. Remastered for this vinyl reissue (that turntable crackle is pure, authentic '90s sampling), Be With Records present this essential double-sider as a dinked 7" perfect for every record bag.
PRICE: $19.50
BREAKWATER No Limit/Do It Till The Fluid Gets Hot 12"
Be With Records presents hen's teeth extended cuts of two glorious Breakwater classics: "No Limit" and "Do It Till The Fluid Gets Hot". These super-rare Arista promo-only 12" versions from 1978 have never been commercially available until now. Originals have regularly sold for upwards of £400 in the past 10-20 years so you know how vital this is. Breakwater's futuristic boogie-funk glider "No Limit" is six and a half minutes of slickness on wax. It's almost AOR. Like an infinite masterpiece, the chilled opening chords of the intro could go on forever -- and they almost do -- but when they give way to the power-funk groove, the track just slaps. It sounds so fresh today, over 40 years on, thanks to the smooth, smooth mixing of Jimmy Simpson. In no uncertain terms this is a monster, written by the great Grey and Hanks. That bassline, those keys, the horn section... all the ingredients are there. Ahead of its time by a good three or four years, some regard "No Limit" as the first '80s groove ever recorded in funk/soul history. A neat trick, given its year of production. On the flip, the six-minute version of "Do It Till The Fluid Gets Hot" is an original Philly party jam. A showcase for Breakwater's phenomenal intensity, this sounds like Parliament's "Flashlight" on steroids. Acidic synths bleep and warp, blending with triumphant horns, in-the-pocket drums and bumping bass to conjure a truly deep funk groove. Laying deep in the cut, the salacious vocal delivery only adds to the brilliant sleaze. Breakwater had a sonic aesthetic beamed in from the future and these two tracks are just more proof of that. Remastered and cut loud for devastating dance floor dynamite, this vinyl reissue arrives just in time for all those (perhaps imagined) BBQ boogie throwdowns. This is a true modern soul double-sider, essential in every way.
PRICE: $19.50
PAUL, BILLY Let The Dollar Circulate/East 12"
Billy Paul's "Let The Dollar Circulate" and "East" have never appeared on a legit 12" before. They do now. "Let The Dollar Circulate" is inextricably linked to one of J Dilla's greatest ever deep productions, whilst the massive "East" has long been a big Harvey tune. Both make full use of the incredible MFSB, the regular group of crack musicians that acted as the house band for the Philadelphia International Sound label at Sigma Sound Studios. Causing glorious damage to discerning dancefloors until this very day, Billy Paul's "Let The Dollar Circulate" was first released in 1975 on the album When Love Is New. It has the upbeat, dramatic proto-disco sound of classic Philadelphia soul. Taut, urgent verses of evergreen lyrics that preach the evils of capitalism and environmental destruction, to a thumping, menacing bassline. A gospel-infused chorus releases the tension in an explosion of strings and horns. Dynamite. A richly textured and enduring soul hit, "Let The Dollar Circulate" received a second wind when it was sampled by Dilla for Spacek's 2005 underground gem "Dollar". "East" is a fascinating, genre-blending track; a magical, widescreen soul-jazz masterpiece. Mystical and powerful, it's a pulsating mini-epic with a potent spiritual dimension. "East" was written by Philly bassist and baritone Tyrone-William Brown and appears on 1971's Going East LP. Lenny Pakula's atmospheric arrangements are complex but deeply funky, perfectly suited to Paul's fervent vocals. Gamble and Huff's production is a brilliant demonstration of their balancing Paul's jazz roots with the funky soul of the day, and seeking to innovate and push musical boundaries. A first-person rumination on slavery, Paul's thoughtful, deeply moving spoken word introduction unravels as the track reveals its secrets. Against the jazzy backdrop Paul's delivery is heartfelt, welling up with emotion. Strings cascade and winds howl while the bass prowls along the arrangement. Stunning. Remastered to stunning effect, Be With Records present this vital double-sider from the man ?uestlove called "one of the criminally unmentioned proprietors of socially conscious post-revolution '60s civil rights music."
PRICE: $23.50
MORRICONE, ENNIO L'agnese Va A Morire CD
L'agnese Va A Morire is one of the most successful collaborations between director Giuliano Montaldo and composer Ennio Morricone. The composer, avails himself of exceptional soloists such as De Gemini on harmonica, Carnini on organ, Valdambrini on flugelhorn, Enrico Pierannunzi on piano, and the dramatic vocals of Clara Murtas to create the appropriate atmosphere to describe life turned upside-down by Nazism during WWII, during the eight months preceding the liberation of Italy from German occupiers. Morricone alternates sacral moments with dissonance to describe this dark period of Italian history. Beat Records used a first-generation stereo master prepared in 1977 for a 33rpm that was never released, now fully restored for an exceptional listening experience. The CD is released in the classic CDCR series with mastering by Daniel Winkler and Claudio Fuiano. Liner notes by Patrick Bouster. Graphic design by Daniele De Gemini, featuring the original poster art by Renato Casaro on the cover. Jewel case; 12-page booklet.
DDJ 4501EP
PRICE: $31.00
CAT #: DDJ 4501EP
DE ANGELIS, GUIDO & MAURIZIO Occhio Malocchio Prezzemolo E Finocchio/Uno Sceriffo Extraterrestre... Poco Extra E Molto Terrestre 7"
Occhio Malocchio Prezzemolo E Finocchio is one of the classic cult comedies of the '80s, the most prolific decade in Italian cinema for that cinematic genre. The movie is split into two episodes, the first featuring the absolute star Lino Banfi trying to find a jinx, and the second starring singer/actor Johnny Dorelli playing an amateur magician. Beat Records' collaboration with Cabum Publishing and the subsequent discovery in their vault of the complete original recording sessions, totally unreleased until now, gave us the opportunity for a new release dedicated to the music for cult Italian cinema that will entertain us with its fresh and funny style. The soundtrack also features "Sheriff", the main titles of the movie Uno Sceriffo Extraterrestre... Poco Extra E Molto Terrestre, which together with the main titles of Occhio Malocchio Prezzemolo E Finocchio reflects the content of the 7-inch vinyl, highly collectible, with Enzo Sciotti's original artwork for Occhio Malocchio Prezzemolo E Finocchio on the front cover and Renato Casaro's original artwork for Uno Sceriffo Extraterrestre... Poco Extra E Molto Terrestre on the back. The 45rpm also features a special edition for collectors, numbered. Mastered by Enrico De Gemini with graphic layout by Daniele De Gemini. 45rpm; numbered print; edition of 400.
BE 010LP
PRICE: $30.00
CAT #: BE 010LP
Black Editions present a reissue of Musica Transonic's self-titled release, originally released in 1995. Musica Transonic was comprised of three of the most crucial artists to emerge from the 1990s Japanese underground: Nanjo Asahito of High Rise, Makoto Kawabata of Acid Mothers Temple and Tatsuya Yoshida of Ruins. The group's music was a supercharged combination of complex rhythms, blistering guitar attacks, and enormously deep bass momentum. Pushing the rock power trio to its miasmic, overdriven limits, Musica Transonic's sound retains the ability to shock even now, 25 years later. Remastered, Musica Transonic's self-titled debut is now available for the first time on LP and includes previously unheard material. Pressed to high quality vinyl at RTI. Gatefold, heavy tip-on jackets; includes download."In 1986, Tokyo's PSF Records released the second album by High Rise, simply titled II, and it immediately became one of those legendary albums that hipsters worldwide whispered about, because hardly anyone had it to listen to . . . High Rise wasn't nearly enough to occupy the busiest guy in Tokyo's underground, though, and by the mid-90s Nanjo had enough bands going that nobody could really keep track anymore. PSF's legendary high-quality standards recognized a couple of them, however, with releases in 1995, including the enigmatic Musica Transonic. This was an unhinged band that on first hearing seemed to check many of the same boxes as High Rise, including the trademark redlined sonics. But those who cranked it up and really listened realized it was actually a very different beast, a sort of musical manticore assembled from a variety of monstrous parts . . . Guitarist Makoto Kawabata would achieve renown the following year as the leader of Acid Mothers Temple, also appearing as the guitarist in Mainliner, another High Rise-adjacent project with Nanjo. While by 1995 he and Nanjo had been playing together in other projects for several years, on this album Kawabata brought a chaotic, free-flowing guitar aptitude that painted a stranger spectrum than the laser-focused rock of High Rise. In concert with the brilliant drummer Tatsuya Yoshida -- well-known in the scene from his long-running duo Ruins -- the results are entirely unpredictable, and joyously so. After focusing for some time on repetition, Nanjo struck off down a new road with Musica Transonic. The better-known High Rise is a straight-ahead blast, minimalist in its approach as they drive right at your gut. With Musica Transonic, the combination of Yoshida's complex rhythms and Kawabata's ability to find unexpected angles for his guitar attack recalibrated the rock trio, with magnificent results that retain their ability to shock even now, 25 years later..." --Mason Jones, San Francisco, CA, 2020
BE 011LP
PRICE: $22.00
CAT #: BE 011LP
Black Editions present a reissue of Kazuo Imai's far and wee, originally released in 2004. Kazuo Imai is one of the few artists to traverse both Japan's early avant-garde and free jazz movements. Though he began performing in the 1970s, his 2004 P.S.F. album far and wee was only the second under his name. In a series of thrilling acoustic guitar improvisations -- Imai's playing crackles with dynamic tension and physicality as well as a subtlety and nuance that reveals him as one of the instrument's true masters and innovators. In 2004, Kazuo Imai (Marginal Consort, East Bionic Symphonia) recorded a series of nylon-string classical guitar improvisations at the request of P.S.F. founder Hideo Ikeezumi. far and wee, the resulting album, vibrates with the inherent duality of nylon: the strings stretch and snap back like rubber tautened and released, and paint the softest of caresses in silky washes. Imai was a student of two of the foundational artists of the Japanese avant-garde: Masayuki Takayanagi, the pioneering free-improvising guitarist and Takehisa Kosugi, the visionary Fluxus composer also known for his work with Group Ongaku and the Taj Mahal Travelers. A sense of inquisitiveness about how far he can push himself and every part of the guitar pervades these performances as Imai makes everything from the pegs to the bridge to the strap pin explode with resonate. For over 20 years, Imai has been a driving force behind Marginal Consort a collective of Japanese avant-garde musicians devoted to collective improvisation, known for their incredibly layered and varied annual performances that last for three continuous hours. Using a blend of homemade and traditional instruments, electronics, and sculptural and natural forms, they create auditory experiences of exceptionally unique color and vibration. The same dedication to vitality and variety is found in Imai's guitar music, and it is via the guitar that his vast studies in philosophy and music come together in extreme focus, allowing him to tease and extend the history of the instrument while interrogating the limits of its edge. far and wee continues the tradition of the Soloworks concerts that Imai has been giving for several decades, and allows the listener to breathe in the unique space of Imai's thought processes. He attacks the instrument: the nylon strings explode against the guitar. And he caresses it, soothing each centimeter of string with delicate force and concentration. Pressed to high quality vinyl at RTI. Heavy tip-on jackets; includes download.
BE 012LP
PRICE: $30.00
CAT #: BE 012LP
Black Editions present a reissue of Toho Sara's self-titled album, originally released in 1995. A mystifying work of Japanese avant-garde shamanism, Toho Sara's 1995 debut introduced a radical new sound from Asahito Nanjo (High Rise), Makoto Kawabata (Acid Mothers Temple), and Hisashi Yasuda -- playing an array of ancient instruments including tabla, piri, harmonium, biwa, shakujo, and hansho the group evokes an otherworldly ritual music, meditative and haunting. Originally released on CD by P.S.F. Japan, newly expanded, remastered and available for the first time ever on vinyl. Pressed to high quality vinyl at RTI. Gatefold, tip-on jacket; Includes insert and download."In 1995, Tokyo's legendary label P.S.F. Records released two very different albums, connected by the shadowy personality behind them: Nanjo Asahito, well known by music fanatics acquainted with his band High Rise. The pair of 1995 releases, though, were quite different from the brain-scrambling, fuzz-driven, motor-psycho sounds of High Rise. One, by the mysterious Musica Transonic, refracted that distorted rock through a prism that broke it into abstract, free-form shapes. We're here, though, with regard to the other album, the self-titled debut by ????, Toho Sara . . . From the first of the simply numbered songs (no titles here) it's clear that Nanjo, Kawabata Makoto, and Yasuda Hisashi have something special in mind: the delicate percussion and woodwinds are quickly joined by a much more ominous drone, and they combine brightness with murk throughout the album . . . Nanjo and Kawabata had played together for some time before this album, including a band called Johari, which brought together ethnic and contemporary music. They formed Toho Sara to revisit the idea, focusing on Asian spirituality while experimenting with acoustic instruments. Yasuda joined them after playing in Nanjo's avant-garde outfit Group Musica, and later played in the early Acid Mothers Temple with Kawabata. Toho Sara translates to Eastern Most, which follows the idea behind the group. Fascinated by shamanism, Nanjo wanted to create an avant-garde musical embodiment of ideas like kagura, ancient ritual theater, and bring it to album and stage . . .The fourth track, the album's eleven-minute centerpiece, bursts open in a chaotic clatter that barely disperses as mysterious scrapings and bowings come and go, a bewitching accretion of brain-scrambling sounds. It's a dramatic, eerie, and anarchic passage that would undeniably suit a summoning ritual for Moorcock's chaos-god Arioch. Some of the tracks are calmer, even peaceful if you don't mind a bit of ambient dread seeping into your peacetime. Slow drumbeats and gentle gongs are layered with not-quite-atonal woodwinds, intermittent clacks of wooden percussion accent some variety of buzzing woodwind, and droning harmonium underlies clarinet-like slow melodies..." --Mason Jones, San Francisco, CA, 2020
PRICE: $25.50
"This is the fulfillment of a dream for a new kind of music. There is nothing like Vespers in the literature of music. It is a completely new way of defining what music is, and the definition is given to us in a purely realized form." --Robert AshleyAlvin Lucier is among the most important, influential, and radical of the second generation of the post-war avant-garde composers. First released as Lucier's contribution to the Sonic Arts Union's lone LP, Electronic Sound (1972), Vespers is a work generated by two equal actors: the performers and the space that they occupy. Conceived following a chance encounter with hand-held echolocation technology "the Sondol", a pulse oscillator that emits short, sharp pulses at variable repetition speeds, producing echoes from the reflecting walls of a space to register relative location and orientation. Written as a poetic "prose score", for the realization of Vespers, each performer is equipped with a "Sondol" and asked to move blindfolded within a defined space, moving from one point to the next using only echolocation, taking what Lucier describes as "sound photographs" that reveal discrete details of the given area. Despite the radical leap it presented within the history of the sonic arts, Vespers was not the first of Lucier's works that began to specifically address the relation between sound, perception, and space. Chambers, composed the year before in 1968 and embedded with the wry humor which lingers below much of the composer's output, explored the theme on a brilliantly miniature scale. As a total work, Chambers contends with the relationship between the knowing and understanding of what we hear, our perception of the source of a sound, and its relation to space. When viewed in the immediate context of Vespers, it presents as an unexpected inversion of what was to come. While it plays on the relation of sight and the sonic actor, what is seen and unseen takes on a dynamically different role. For the realization of Chambers, battery-operated radios, tape recorders, and various kinds of electric toys are hidden in paper bags, shoes, kettles, a suitcase, and other small resonant spaces, which not only limit the perception of these object to their sounds alone, but take on the role of acoustic actors on the sounds within, each space becoming as individual and distinct as the object it contains. Newly designed obi-strip/insert with an introduction by Robert Ashley, liner notes by Bradford Bailey and Gaia Martino. 160 gram, dark blue vinyl; edition of 300.
PRICE: $45.00
CAT #: BOX 004LP
CHRISTIANSEN, HENNING SAVE THE NATURE -- USE FLUXUS, The Box Gallery parking lot, Los Angeles 2LP
Co-release with The Henning Christiansen Archive. In November 17, 2019, a six-hour performance was undertaken in the car park of The Box gallery in Los Angeles as a part of the Henning Christiansen/Ursula Reuter Christiansen exhibition, THEY WON'T SURVIVE WITHOUT THE BIRD SONGS. Thørbjorn Reuter Christiansen, son of Ursula and Henning, developed a timeline for the performance which was essentially designed to encompass a contemporary community of like-minded artists that spans generations and continents. The resulting performance included archival recordings taken from the H.C. Archive, which houses a vast collection of compositions, scores and correspondence of the late Christiansen. This limited-edition double-LP collects edited highlights from the day capturing the unique and somewhat unsettling atmosphere provoked by a diverse range of performances. Thørbjorn Reuter Christiansen developed a new action where he performed a sound piece on iconic instruments of Henning's alongside recorded sounds of his father. "The New Sound of the Living Dead": Bjørn Nørgaard presented two new iterations of some of his historical actions; Homage to Henning and Joseph, Manresa, a piece he first collaborated on with Henning Christiansen and Joseph Beuys at Galerieleri Schmela in Düsseldorf in 1966, and The Cake, a live construction of a monolithic yet impermanent sculpture meant to decay over time. Along with this he did a reading of a new piece of writing, "The Origin of the Future". Mai Dengsøe Hansen performed "EURASIENSTAB fluxorum organum op. 39", a piece for organ that Henning scored and used as the soundtrack for the film Eurasienstab, with Joseph Beuys. The BOX gallery founder Mara McCarthy, along with her father, the notorious Los Angeles artist, Paul McCarthy and Chiara Giovando performed "Knock Harder", a 20-minute improvisation that loosely recalls "Knocking", a sound scape Henning used repeatedly throughout many of his own compositions. Chiara and Mara can be heard singing and playing a selection of small instruments, while Paul methodically slammed the back door of the gallery with a piece of scrap 2x4 pinewood -- a kind of dedication to the monotony of Fluxus. Mark Harwood, the founder of experimental label Penultimate Press, performed an improvised musical protest incorporating fire, rhythm, and chaos alongside field recordings of the civil unrest in Chile that he collected occurred just prior to the opening of this exhibition. Ultra-deluxe set; two LPs held together with a printed rubber band, four large full-color double-sided art cards documenting the performances, a substantial booklet/catalog about the exhibition and a large poster featuring a drawing by Paul McCarthy made during the performance; edition of 500 copies.
PRICE: $12.00
CAT #: BPX 007EP
BOSTON 168 Vax Of Love 12"
BPitch Control welcomes Italian acid duo Boston 168 back to the fold as the label's 2020 campaign continues. The pair produced the 909 Therapy EP (BPC 339EP) and the back in 2019 after their successful Drops In Heaven EP (BPC 336EP) debut on BPitch, and they have them return with Vax Of Love, a three-track continuation of their experiments with industrial sounds and the timeless appeal of the beloved Roland TR-303 and its squelchy secretions. What we have here is the product of one of Italy's "Motor Cities", the ghosts of abandoned factories present in every beat, bassline and acid-tinged motif...
PRICE: $23.50
MACHIDA & CAL LYALL, YOSHIO Premeditation 2x10"
In the early 2000s, Tokyo's SuperDeluxe was a meeting point for many experimental musicians, both international and Japanese. This duo sprung from a live collaboration at the venue in 2006, where Yoshio Machida was experimenting with processed steel pan and Cal Lyall was largely performing using a tabletop guitar setup with a range of electronics. Many subsequent encounters were heavily experimental, ranging from densely layered noise music to sound collage. Through the years, the collaboration shifted to a more tonal approach, with standard tunings and stronger compositional elements. Both musicians have a deep interest in traditional improvisational forms, so there was a natural evolution towards structural ideas -- based on minimal scalar patterns -- as the sound became more acoustic. The most recent instrumentation explores the unusual combination of steel pan, slit drums and banjo, while also delving deeper into the characteristics of the instruments themselves. Personnel: Yoshio Machida - steelpans, gamelan, metal slit drums; Cal Lyall - five-string banjo. Double-10"; gatefold sleeve; eight-page photo booklet.
PRICE: $23.50
LAU & DARIN GRAY, PAK YAN Trudge Lightly 2x10"
"Pak Yan Lau, one of the most original pianists of the new European creative scene, has the ability to build complex formal architectures starting from minimal materials -- insistent rhythms, barely hinted melodies, electronic effects as evocative as they are mysterious. Darin Gray uses his long experience as the backbone of many improvisational groups with a painstaking work on timbre and a deep and multiform sound, providing a solid support to extemporary creations that have the solidity of pondered compositions. The music of the duo develops on wide structural strings, elegantly combining the continuous surprise of free improvisation with the material suggestions of electroacoustic experimentation, in a game of references and narrative developments almost cinematic, which tell a fascinating sound world, strangely familiar yet constantly new and surprising." --Nicola Negri, Centro d'Arte Padova, Italy. Personnel: Pak Yan Lau - prepared piano, toy pianos, synth, objects, electronics; Darin Gray - double bass, preparations, objects, electronics. Double-10"; gatefold sleeve; eight-page photo booklet.
PRICE: $22.00
CAT #: CPT 570LP
FRED UND LUNA Im Weltenraum 2LP
Space music of an outstanding and extraordinary kind: just as you would expect when two mannequins leave their boutique in Karlsruhe/Germany in their mind's eye to go and see places where they haven't been before. Im Weltenraum, how they call their new album, is Fred Und Luna's next step in their ever-changing series of "elektrokraut/krautelektro" music. A charming and fascinating voyage through an endless universe of phantasmagorical soundscapes, repetitive rhythms, catchy melodies, and even a side trip to Acid House Land. After their Gluck Auf on Optimo Music (OM 034EP), where they started with a journey through motorik krautland, followed by a trip to a both atmospheric and boppy soundgarden on their album Im Klanggarten" (Bigamo, 2017), an intoxicating journey into deep blue areas on Im Tiefenrausch (COMP 537CD/LP, 2019) and tribal dancefloor spots on Im Tanzrausch" (COMP 538EP, 2019), Fred Und Luna are now on the traces of spaces, unknown worlds and unknown time zones, accompanied by Patrick Pulsinger, both a mix master and a master of mastering. Who are Fred Und Luna? Fred Und Luna are two mannequins living in a fashion boutique in Karlsruhe, Germany. They serve as muse for musician, lector, poet, and photo/video maker Rainer Buchmüller. Inspired by his doll friends and his love for German electronic music of the past decades, Rainer Buchmüller under the alias Fred Und Luna produces his self-created genres elektrokraut and Krautelektro: both a modern combination of repetitive rhythms, beautiful melodies, electronic soundscapes, and elements from the krautrock era. Under the name of Ariston Baton, Rainer Buchmüller also writes and performs sound poems and concrete poetry.
PRICE: $12.00
CAT #: CPT 571EP
AL CHEM Metaphysics Of Love EP (Incl. Remixes of Michael Reinboth & Shahrokh Dini) 12"
If something can be aseptic cold like the New Romantics and deep, soulful and trippy at the same moment, then this release by Berlin's Al Chem, which is a pretty damn thorough modelling of no wave. Raised from a diet of post-punk, new-wave, lost in a fogged-out warehouse, this kind of music and vocals in a minimal lo-fi electronic soul-bed is hard to find. Al Chem's voice and lyrics are beautiful, over an ethereal dive. Al Chem extracting a rich sense of emotion from a hypnotic grooving synth pad. With some tip-top hitters on remix duty: Shahrokh Dini made an absolutely stunning quirky peak time club mix, while Compost's boss Michael Reinboth is riding tough on a stone-cold '80s groove. Alexander Christou aka Al Chem/The Elecdrones -- producer, composer, singer, and DJ 1962-1968 London, 1968-1979 Würzburg, since 1980 in Berlin.
CR 010EP
PRICE: $12.50
CAT #: CR 010EP
HANGING STARS, THE Fresh As A Sweet Sunday Morning 7"
Recorded at Famous Times for a never-released Bert Jansch tribute album, Fresh As A Sweet Sunday Morning sees The Hanging Stars cover the opening track from Bert's 1974 album L.A Turnaround -- an album hailed at the time for combining Americana with a playful English wistfulness. The Hanging Stars imbue Jansch's song with a mean energy and their own signature cosmic psychedelia. The song ends with Joe Harvey-Whyte's pedal steel sounding closer to a sitar whilst droning and distorted guitars seem to almost collapse in on themselves during a coda that sounds like it cannot bear to stop itself. "The Mountain" sees the band enter entirely different territory. Bookended by Sam Ferman's angular bass line and Paulie Cobra's relentless drumming, what comes between recalls both the darkest sounds of The Doors and the ethereal psychedelia of early Verve, with Luke Barlow's flute puncturing a haze of distorted guitars.
PRICE: $25.50
NOVAGA, ALESSANDRA I Should Have Been a Gardener LP
Offering a visionary approach to the solo guitar, Milanese experimentalist Alessandra Novaga, delivers an expansive meditation on the late filmmaker, Derek Jarman, with I Should Have Been a Gardener, presented by Die Schachtel. Alessandra Novaga is among the leading figures within Italy's thriving new, experimental, and improvised music scene, consistently rendering striking solo efforts, as well as equally noteworthy collaborating with Stefano Pilia, Paula Matthusen, Elliott Sharp, Sandro Mussida, Travis Just, and others. Remarkably ambitious and forward-thinking, her approach to the guitar veers from the trajectories of visceral emotiveness and textural extended techniques that have held sway over the instrument's applications within avant-garde contexts over the last half century, encountering her relentlessly deconstructing and rethinking its unique properties through applications of structure, resonance, space, and tone. I Should Have Been a Gardener -- building on from the territory explored within 2017's Fassbinder Wunderkammer (2017) -- is Novaga's second LP to draw conceptually on her love for film. Rather than focusing on a fixed point of inspiration, the album takes form as a distillation, pulling from across the unique life, death, work, political commitment, and diaries of Derek Jarman. Emerging as an ethereal aural portrait of the man, sound -- interventions of tonality with non-instrumental sources -- and silence join in a single, unified body that seeks redemption and purification at the boundaries of life; an imprint that, like Jarman's garden at Prospect Cottage, is magical -- flowers blooming between the stones -- hovering in the stark space between an endless sea and post-modern shadow of a nuclear power plant. As remarkably listenable as it is challenging and pregnant with ideas, Novaga's I Should Have Been a Gardener represents a strikingly at ease step forward in the potentialities of experimental music. Bravely taking on the ubiquitous expectations of the guitar, Novaga refused to relinquish the clarity of source and sound, forcing the ear to rethink what is accepted and known at every turn. An immersive journey from one of Italy's most important contemporary voices. 180 gram, yellow vinyl; accompanied by an extensive, exploratory booklet; Edition of 200.
DM 008LP
PRICE: $30.50
CAT #: DM 008LP
MANUEL & C.V.P., GERARDO Quien es el Mayor? LP
Discos Monterey present the first official reissue of the last project of Gerardo Manuel's trilogy with Humo, Quien es el Mayor?. Recorded in 1973 in the style of his previous two albums, this is the most progressive. As the lyrics leant toward social protest, the military in power didn't want this music to be popular and as a result of this most of the copies were destroyed. This has made the album extremely rare and an authentic lost jewel of South America rock.
PRICE: $23.00
CAT #: DOK 206LP
2020 restock. "Originally released in 1961 as Joao Gilberto, this historic album is one of the great cornerstones of bossa nova. Accompanied by Tom Jobim (who wrote such standards as 'Garota de Ipanema' and 'Desafinado') and organist Walter Wanderley (best known for his smooth Hammond playing and the 1966 hit 'Summer Samba'), Gilberto plays songs like 'Samba da minha terra' and 'O amor em paz,' both of which (along with most of the songs on this album) would soon become standards of the genre." On 180 gram vinyl with a CD of the entire album.
PRICE: $18.00
DADAWAH Peace And Love LP
LP version; 2020 repress. Dark, hypnotic, tripping nyabinghi from 1974. Led by Jamaican Rastafarian singing hand-drummer Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation drums and bass-heavy (with no rhythm guitar; rather, Willie Lindo brilliantly improvising a kind of dazed blues). Lloyd Charmers and Federal Studios engineer George Raymond stayed up all night after the session to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia. Previously squandered in an incongruous 2-for-1 reissue, now lovingly returned to its original, singular glory at Abbey Road. Pressed on super-fly vinyl and housed in new standard-printed sleeves.
PRICE: $23.00
A new timely studio album from the duo of Peter Rehberg and Stephen O'Malley. Recorded and mixed during an unexpected extended stay in Berlin when the borders of the world suddenly closed. The claustrophobic urgency of this scenario is seared into the colossal vibrations set into this vinyl release. Unlike many of their releases this is a studio record made unto itself as opposed to the many soundtracks they have made for theater works and the like. It also stands as one of their most fully realized releases to date. Proceedings are launched with "The Director". Sitting somewhere between contemporary classical and doom this is a sliding and menacing mass of sound, more Masque of the Red Death than The Decameron. Silver lining is an alarming swooping buzzing track, looming and lowering only to rise and descend again. A delicate play with the Shepard-Risset glissando manifesting a delirious swarm of sound. Lee's garlic orbits into a short, fragmented zone with bursts of harsh feedback and crashing fx, all manner of audio enters and is discarded with an underlying sense of despair and frustration. Proceedings continue on Side B with "Tea With Kali" where a calmer plateau is embedded with oscillating guitar and fluttering electronics. Beating sine waves envelop the listener in a meditative thought piece of sound. Frostless concludes this epic dispatch as a subtle and gentle foray into twitching electronics as a light buzzsaw drone swirls as around your mind. The interplay of sources -- guitar, electronic equipment (hardware, software, speakers) -- is so entwined it's often difficult to discern who is doing what amongst the broad sound field. KTL's VII is instrumental music as visual narrative resulting in an exquisitely crafted release full of sophisticated and sublime illusory effects. Berlin, Spring 2020; Written and produced by KTL, Stephen O'Malley and Peter Rehberg; Recorded and mixed at MOM Paraverse Studios, Berlin, March and May 2020; Engineer: Andi Toma (mix), 2nd Engineer: Constantin Carstens (recording); Mastered at Zino Mikorey Mastering, Berlin, May 2020; Cut by Andreas Kauffelt at Schnitstelle, Berlin, June 2020.
PRICE: $22.00
CAT #: FTR 545LP
Prana Crafter is William Sol, a musical mystic who blends the raw energies of nature with guitars, synthesizers, singing bowls, and a dose of flow-consciousness. The resulting sonic nectar flows out from the amplifier, cascading in the mind of the listener, splashing mantras against the listener's third ear. Some music is meant to entertain, to be consumed like flashing patterns on a TV screen. Not so with the music of Prana Crafter. This music is a sonic-tapestry of energies that are meant to envelop the listener and deliver a message that, as Sol puts it, cannot be known through symbol or through sign. Likened to artists across the psychedelic and folk spectrums -- Popul Vuh, Agitation Free, Six Organs/Ben Chasny -- Sol's self-professed mentors-in-spirit Jerry Garcia, Jimi Hendrix, and Manuel Göttsching are present as well in familiar and surprising ways. In review it has been said that Prana Crafter's music is "an example of psych-folk at its finest" (Raven Sings the Blues), "like a long lost pressing from the early '70s, it's a mist shrouded mysterious meditation" (Shindig Magazine), and even that, "few other musicians are making music as ambitious and genuine as Prana Crafter" (The Active Listener). Will has said he thinks of himself as a conduit when recording and with MysticMorpho Prana Crafter are creating truly cosmic music, a synthesized mediation -- think if you will of Terry Reilly and Sandy Bull blending their hypnotic energy flow together. MysticMorpho is a 35-minute kosmische inspired acid opus that lets your mind venture in the slipstream, between the viaducts of your dream before gently floating you back down to Earth. Presented in a lush gloss laminated outer sleeve with exquisite artwork design by John Nicol.
PRICE: $25.50
MANCO, BARIS Dünden Bugüne LP
2020 restock. Bar?? Manço was one of the leading, most influential and most beloved Turkish rock musicians, along with Erkin Koray, Edip Akbayram and Cem Karaca, and this is his first long-player, released in 1971 by Sayan Productions. It's a compilation of tracks taken from previously-released 45s, plus the track "Lory" that only appears on this album. Killer psych-rock with a strong Turkish flavor, this features Baris' all-time classics like "Derule" and "Da?lar Da?lar I," as well as the brutal, wah-wah flooded "Küçük Bir Gece Müzigi," with its infectious drumming that drives anyone searching for sampling stuff mad. Not to be confused with two different releases with the same name that actually have different tracklistings and artwork, this is the real album as it was originally released. Reissued on vinyl for the first time, and including an insert with great photos of Bar?? as well as detailed liner notes.
PRICE: $33.00
LOS SHAKERS Los Shakers / Break It All 2LP
Guerssen presents the first long playing record by the fabulous Los Shakers, the legendary band formed in Uruguay in the mid-1960s, in the wake of the Beatlemania phenomenon. Their songs had little to envy to those of their heroes from Liverpool. Tempo, chord progressions, and rhythms boiled in a magic, infectious sound. The double-LP set collects both the original Los Shakers album from 1965 (in its original mono mix) plus Break It All, originally released in 1966 for the US market, featuring new stereo re-recordings of most of the songs from the first Los Shakers album and 45-only tracks. Get ready to enjoy the songs of Hugo, Osvaldo, Caio, and Pelin. Remastered sound. Gatefold cover with obi; insert with liner notes in English/Spanish by Miguel Navarro and rare photos. Repro of the mega-rare promotional "Noti-Shakers" newspaper.
PRICE: $25.50
LOS SHAKERS Shakers For You LP
First vinyl reissue of Shakers For You, the second LP by legendary beat/pop band from Uruguay, Los Shakers, originally released in 1966. An album clearly influenced by Help! (1965), Rubber Soul (1965), and Revolver (1966), but showing a band that were more than mere copycats, offering some revolutionary compositions and influences, such as bossa nova. The songs on Shakers For You take you through incredible musical mixtures that, while keeping a strong early/mid-Beatles feel, give you clues of what would come later in pop music with psychedelia just around the corner. One of the greatest beat LPs from the 1960s. Remastered sound in original mono sound. Original artwork in heavy cardboard sleeve and obi; Four-panel color insert with liner notes in English/Spanish by Miguel Navarro and rare photos.
PRICE: $25.50
LOS SHAKERS La Conferencia Secreta del Toto's Bar LP
First vinyl reissue of La Conferencia Secreta del Toto's Bar, Los Shaker's psychedelic masterpiece, originally released in late 1968. Inspired by Sgt. Pepper's Lonely Hearts Club Band -- a milestone that would change the face of pop music forever back in 1967 -- Los Shakers created a fundamental album in the history of South American rock music, a seminal record for many artists to come, full of pleasant surprises, magic sounds, and sense of humor. It offers a complex fusion of styles, with elements from both rock and jazz, plus the use of exotic instruments like the bandoneon -- widely used in tango music but unprecedented until then in pop/rock adventures. It all makes the last album by Los Shakers an essential, innovative record for any collector and aficionado. Sounding as fresh and original today as it did back in the late '60s. Remastered sound. Heavy cardboard sleeve and obi. Four-panel color Insert with liner notes in English/Spanish by Miguel Navarro, plus rare photos.
PRICE: $25.50
SHAKER'S In The Studio Again LP
First ever vinyl reissue of Shaker's In The Studio Again, originally released in 1971 (only in Brazil and Argentine). Released under the Shaker's name, (an idea/imposition of the record label/producer), In The Studio Again was in fact recorded by The Innocents, an Uruguayan band featuring Roberto "Pelin" Capobianco and Carlos "Caio" Vila from Los Shakers, plus Héctor and Carlos Capobianco (Pelin's twin brothers) and Rubén "Lorenzo" Viela. These top musicians recorded in Brazil a wonderful album full of catchy songs, vocal harmonies, superb arrangements, and Beatlesque/baroque-pop/proto power-pop vibes. Featuring a collection of English-sung self-penned songs, some of them could have been easily included on Shakers For You (GUESS 161LP) or La Conferencia Secreta del Toto's Bar (GUESS 162LP), and amazing cover versions of Carole King and McCartney. Track list and artwork faithful to the original Brazilian edition. Heavy cardboard sleeve and obi. Four-panel color insert with English/Spanish liner notes by Alex Carretero and rare photos. Includes one bonus track, a cover version of "See The Light", originally by South African band The Flame (related to the Beach Boys), which was only included on the Argentinian edition.
PRICE: $16.50
CAT #: HPS 135CD
BELZEBONG Light The Dankness CD
Light The Dankness is the latest Belzebong album. The release, which is vocalized only with periodic samples, is nonetheless able to convey its sensibilities not only through its titles, but through the bare riffs and grooves themselves. "Pot Fiend" rounds out side A with nine-and-a-half minutes of filthy swing, pitting slow-motion shuffle and massive riffing against each other and seeing who wins en route to its final crash and fading feedback, and another sample begins "Doperganger" on side B. The second half of Light The Dankness is longer than the first, with "Doperganger" at nearly eight minutes and "Roached Earth" at 12 minutes flat, but the method is largely the same: Riff unto oblivion. "Doperganger" picks up the tempo somewhat from "Pot Fiend" in a kind of winding central progression born of a dirtied-up Sleep influence, but they tool around with it effectively throughout and seem to explore the reaches where the song might go, a solo arriving after five minutes in just as the song seems to start tearing itself apart. A longer sample emerges as they pull it back together and trash their way into a stretch of silence preceding "Roached Earth".
PRICE: $23.50
CAT #: HPS 135LP
BELZEBONG Light The Dankness LP
LP version. Light The Dankness is the latest Belzebong album. The release, which is vocalized only with periodic samples, is nonetheless able to convey its sensibilities not only through its titles, but through the bare riffs and grooves themselves. "Pot Fiend" rounds out side A with nine-and-a-half minutes of filthy swing, pitting slow-motion shuffle and massive riffing against each other and seeing who wins en route to its final crash and fading feedback, and another sample begins "Doperganger" on side B. The second half of Light The Dankness is longer than the first, with "Doperganger" at nearly eight minutes and "Roached Earth" at 12 minutes flat, but the method is largely the same: Riff unto oblivion. "Doperganger" picks up the tempo somewhat from "Pot Fiend" in a kind of winding central progression born of a dirtied-up Sleep influence, but they tool around with it effectively throughout and seem to explore the reaches where the song might go, a solo arriving after five minutes in just as the song seems to start tearing itself apart. A longer sample emerges as they pull it back together and trash their way into a stretch of silence preceding "Roached Earth".
PRICE: $33.00
BELZEBONG Light The Dankness (Orange Solid Vinyl) LP
LP version. Orange solid vinyl. Light The Dankness is the latest Belzebong album. The release, which is vocalized only with periodic samples, is nonetheless able to convey its sensibilities not only through its titles, but through the bare riffs and grooves themselves. "Pot Fiend" rounds out side A with nine-and-a-half minutes of filthy swing, pitting slow-motion shuffle and massive riffing against each other and seeing who wins en route to its final crash and fading feedback, and another sample begins "Doperganger" on side B. The second half of Light The Dankness is longer than the first, with "Doperganger" at nearly eight minutes and "Roached Earth" at 12 minutes flat, but the method is largely the same: Riff unto oblivion. "Doperganger" picks up the tempo somewhat from "Pot Fiend" in a kind of winding central progression born of a dirtied-up Sleep influence, but they tool around with it effectively throughout and seem to explore the reaches where the song might go, a solo arriving after five minutes in just as the song seems to start tearing itself apart. A longer sample emerges as they pull it back together and trash their way into a stretch of silence preceding "Roached Earth".
PRICE: $42.00
CAT #: HPS 135S-LP
BELZEBONG Light The Dankness (Half And Half White-Green Vinyl) LP
LP version. Half and half white-green vinyl. Light The Dankness is the latest Belzebong album. The release, which is vocalized only with periodic samples, is nonetheless able to convey its sensibilities not only through its titles, but through the bare riffs and grooves themselves. "Pot Fiend" rounds out side A with nine-and-a-half minutes of filthy swing, pitting slow-motion shuffle and massive riffing against each other and seeing who wins en route to its final crash and fading feedback, and another sample begins "Doperganger" on side B. The second half of Light The Dankness is longer than the first, with "Doperganger" at nearly eight minutes and "Roached Earth" at 12 minutes flat, but the method is largely the same: Riff unto oblivion. "Doperganger" picks up the tempo somewhat from "Pot Fiend" in a kind of winding central progression born of a dirtied-up Sleep influence, but they tool around with it effectively throughout and seem to explore the reaches where the song might go, a solo arriving after five minutes in just as the song seems to start tearing itself apart. A longer sample emerges as they pull it back together and trash their way into a stretch of silence preceding "Roached Earth".
PRICE: $16.50
CAT #: HPS 136CD
CONAN/DEADSMOKE Doom Sessions Vol. 1 CD
Heavy Psych Sounds announce a brand new series of split albums that will be called Doom Sessions. The label are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster, featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. Vol. 1 is a split album with doomy-sludge band Deadsmoke who premiere two brand new tracks, "Dead Minds Army" and "Dethroned Concrete". UK heavy-riff masters Conan are on the other side with masterpiece "Beheaded". Cover design by Alan O'Neill.
PRICE: $23.50
CAT #: HPS 136LP
CONAN/DEADSMOKE Doom Sessions Vol. 1 LP
LP version. Heavy Psych Sounds announce a brand new series of split albums that will be called Doom Sessions. The label are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster, featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. Vol. 1 is a split album with doomy-sludge band Deadsmoke who premiere two brand new tracks, "Dead Minds Army" and "Dethroned Concrete". UK heavy-riff masters Conan are on the other side with masterpiece "Beheaded". Cover design by Alan O'Neill.
PRICE: $33.00
CONAN/DEADSMOKE Doom Sessions Vol. 1 (Red Solid Vinyl) LP
LP version. Red solid vinyl. Heavy Psych Sounds announce a brand new series of split albums that will be called Doom Sessions. The label are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster, featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. Vol. 1 is a split album with doomy-sludge band Deadsmoke who premiere two brand new tracks, "Dead Minds Army" and "Dethroned Concrete". UK heavy-riff masters Conan are on the other side with masterpiece "Beheaded". Cover design by Alan O'Neill.
PRICE: $42.00
CAT #: HPS 136S-LP
CONAN/DEADSMOKE Doom Sessions Vol. 1 (Orange Transparent Splatter) LP
LP version. Ultra limited orange transparent splatter. Heavy Psych Sounds announce a brand new series of split albums that will be called Doom Sessions. The label are going to release a bunch of compilations with doom bands from Heavy Psych Sounds roster, featuring some of the heaviest bands of the world doom scene. Each volume will host two bands. Vol. 1 is a split album with doomy-sludge band Deadsmoke who premiere two brand new tracks, "Dead Minds Army" and "Dethroned Concrete". UK heavy-riff masters Conan are on the other side with masterpiece "Beheaded". Cover design by Alan O'Neill.
PRICE: $23.50
CAT #: HOP 002EP
LITTLE SKULL How We Used To Laugh/Haunted And Defiant 7"
"Just a few months after fortuitously meeting Dean Brown in London's Low Company I am delighted to be releasing this Little Skull 7". For a few years I was listening to Little Skull LP's unaware that Dean's own brand of NZ underground music was in fact being recorded a short distance from my London home. Furthermore, Dean's intricate homemade sleeves were crafted in London, shipped to Italy, then back to London where I was buying them. This release reduces the air miles while expanding the Little Skull story. Two tracks, two different moods. It's as if some unknown event takes place as you flip the record. The music of Little Skull evolved from the NZ underground but extends way beyond. Points of reference include Bruce Langhorne's The Hired Hand (2012), AMMMusic (1967), Egisto Macchi's Il Deserto (1974), Anner Bylsma, and Elodie." --Nick Hamilton (Horn of Plenty) Housed in a beautiful handmade diorama sleeve and box. Limited edition of 100.
PRICE: $25.50
FRITH, FRED Stone, Brick, Glass, Wood, Wire (Photo-Graphic Scores 1992-95) 2CD
1999 release. Fred Frith's large, flexible ensemble project using marked photographs and rules as scores and featuring as permanent members Ikue Mori and Zeena Parkins. Recordings are taken from five concerts, including the first in 1992 at AngelicA festival, and features 44 musicians, including: Jean Derome, Lesli Dalaba, Paulo Angelli, Co Streif, Rene Lussier, Jean Marc Montera, Guy Klucsevek, Myra Melford, Han Bennink, Chris Cutler, Daan Vandewelle, Massimo Simonini, and Hans Koch. Includes full color booklet containing all the graphic scores, instructions on interpretative rules and history.
PRICE: $14.50
2015 release. Recorded Live at the 1993 Angelica Festival, this concert represents the first and only meeting of four great individuals. Some sort of all-star quartet including two ex-Henry Cow members, the great late bassoonist Lindsay Cooper and master guitarist Fred Frith, along with Swedish accordionist Lars Hollmer from the historical RIO band Samla Mamas Manna and Italian saxophone specialist Gianni Gebbia. Four protagonists at the height of their powers. Thoughtful music, beautifully recorded. With evocative photographs, and booklet notes by Fred Frith.
PRICE: $21.00
Anthony Braxton, composer, multi-instrumentalist, and a true giant of creative music, in 50 years of career had never played in a duo with a harp; and that's exactly what happened at the AngelicA Festival in 2018. Expressing himself through a wide range of mediums, from solos to large orchestras to multimedia projects, and drawing inspiration from a wide range of influences, from John Coltrane to Karlheinz Stockhausen, Anthony Braxton has created a unique music system which celebrates the concept of global creativity and shared humanity. Harpist Jacqueline Kerrod, of South-African origins, has performed as part of prestigious classic-contemporary line-ups such as Modern Ensemble and Talea Ensemble. Since 2016 she took part in various Braxton projects such as the opera Trillium J, the 12+1 ensemble, and the ZIM Music sextet, proving to be the ideal partner for this venture where different worlds meet. The music played by Braxton and Kerrod sounds luminous as pure poetry. Music that evokes sublime worlds.
PRICE: $21.00
Internationally renowned musician and composer Roscoe Mitchell since Sound, his debut on Delmark in 1966, has defined a unique language based on a creative approach toward jazz and its relationship with contemporary music. Splatter, drawn from two concerts at the AngelicA Festival in Bologna in 2017, presents the most recent developments of this research. Here are two pieces from his cycle "Conversations for large orchestra". A project based on the transcription and orchestration of some pure collective improvisations with pianist Craig Taborn and drummer Kikanju Baku ("Conversations I and II" Wide Hive, 2014). This new CD includes the Italian premiere of "Splatter" and the world premiere of "Distant Radio Transmission", featuring the Orchestra del Comunale di Bologna, plus singer Thomas Buckner and Mitchell himself. The lion's share of this CD is represented by the first-ever duet with Francesco Filidei, Italian church organist and former assistant of Jean Guillou at Saint-Eustache's Church in Paris, as well as a composer whose music has been performed by great ensembles such as Ensemble Intercontemporain, Percussions de Strasbourg, and Klangforum Wien. "Breath and Pipes" is a testament to this encounter: as Joshua Marshall writes in the CD liner notes, it is "an improvisatory tour de force, demonstrating the uncanny sort of electrokinetic thrill which emerges out of the capacity of two brilliant improvisers to truly surprise one another."
PRICE: $21.00
"Three names, three cultures, three continents, three different concepts of time and timing -- this is the essence of this trio. This is what we have to bring together." -- Peter Brötzmann, Wuppertal, April 1st, 2019With these words, Peter Brötzmann, one of the great figures in the development of a unique European approach to free improvisation since the '60s, announced his return to the AngelicA festival in 2019. A trio featuring Hamid Drake -- one of the best living drummers and guembri player Maalem Mokhtar Gania, last representative of a legendary line of Gnawa music masters, brother of Maalem Mahmoud Gania, long-time Brotzmann collaborator who died prematurely. The trio documented in this CD thrilled and surprised the attending audience with their great energy and magnetism. The music played here it's further proof that Brötzmann at the age of 78 has nothing to envy to his younger self of 50 years ago, at the beginning of his career.
PRICE: $23.00
ASO, AI The Faintest Hint LP
"Ai Aso's immaculately crafted form of minimalist pop music skirts the edges of tensity with the manner and with the skill of a tight rope walker, calmly balancing repeatedly at every step, with a combination of surety and the risk of a slip, a fall, and an unknown uncoiling of events. Aso's capacity to capture, or inspire, the tension and attention from within the listener and observer are quite pronounced. At Aso's concert the performance constantly teeters near the brink, a sharpened awareness in the hall emerges from all observing, with the will of that most delicate balance. On The Faintest Hint she brings a meta level to the proceedings, the dream of a singer in a bright sunlit room in the center of the density of the society, simply and precisely searching for single ideas, single tones, a sense of sensuality and even a dream of a grandeur (rock dream) emerge. A stillness prevails, even a sharp set of instances of dreaming, melancholia, nostalgia... or even saudade. The album was recorded, mixed and mastered by Soichiro Nakamura at Peace Music between 2018-2020. Atsuo and I joined these sessions as producers, and more so as catalysts, yet also became the skeleton of a band on the album (with the tender touch). The legendary Japanese rock band Boris accompany Aso on two pieces. A faintest hint of sharpness and la tendresse féroce quickly erodes into a fine brief cloud of the purest crystalline dust." --Stephen O'Malley, Stockholm June 2020Personnel: Ai Aso - vocals, guitar, synth; Stephen O'Malley - guitar, bass, synth; Atsuo - percussion; also, Boris play on "Scene" and "Sight". All songs and words written by Ai Aso. Produced by Stephen O'Malley and Atsuo; Recorded, mixed, and mastered by Soichiro Nakamura at Peace Music 2018-2020; Cut by Andreas Kauffelt at Schnitstelle, Berlin, April 2020. Photography by Miki Matsushima, Tokyo, June 2020. Thanks to Alan Cummings. Violet vinyl.
PRICE: $26.00
CAT #: JPR 066LP
"Martin Denny Hypnotique originally released in 1959. A fan favorite from the father of the 'exotica' movement. Stunning original cover artwork. 9/10 All Music Guide review." Color vinyl.
JPR 82802LP
PRICE: $21.00
CAT #: JPR 82802LP
WIPERS Youth of America LP
2020 repress. Authorized reissue of the 2nd Wipers album, originally issued in 1981. "Simply obliterating any conception of the Wipers as a mere punk band, Greg Sage released this follow-up to Is This Real? in 1981 -- a sophisticated, overwhelming response to the evil times marked by the turn of the decade. Broken up into six long songs, Youth of America is a much colder, harrowing experience than the teen angst of their debut. Vocally, Sage comes off as sleep-deprived and forsaken, snarling not only at his own predicament but at the predicament of the entire world. The centerpiece of the album is the title track, a dire ten minutes of paranoia and angst that gave Sage the space to showcase his wildest, darkest playing yet. As bassist Brad Davidson and drummer Brad Naish hold the same hypnotic rhythm for the entire song, the guitar careens and swoops with such a frantic energy, it seems as though it's the only thing keeping Sage alive in the maelstrom of sound. It's a fitting commentary that the exacting, post-punk legends Mission of Burma and squalling, noisy thugs The Melvins both saw fit to cover the track. Jackpot Records have kept to the high standards set by our previous reissues (The Wipers' Is This Real? and the self-titled Beauregarde LP), and Youth of America is pressed on high-quality vinyl at RTI and packaged in a sturdy, old-fashioned tip-on sleeve. The tracks have been mastered from original tapes by Greg Sage himself, and the cover is identical to the original sleeve as issued in 1981."
PRICE: $15.00
"The classic debut studio album by Broken Bones, the ex-Discharge speed-metal punk band, who influenced Metallica and an army of other hard-core punk bands. Broken Bones were formed in 1983 by the Discharge twin brothers of Bones (guitar) and Tezz (bass) and were joined by Baz (drums) and Nobby (vocals). From the 'Potteries' area, Stoke-On-Trent, they first produced two singles, Decapitated and Crucifix, followed by this album Dem Bones -- all fast and furious anthems and UK indie chart Top 10 entries. The album, originally released in 1984, was produced by Clay Records' Mike Stone who had also produced Discharge. Along the way, band membership developed, but always featuring the distinctive guitar of Bones. Tezz later went to the USA, where he played with UK Subs, Ministry, and many others. Both brothers are currently in a reformed Discharge."
LR 111B-LP
PRICE: $20.00
CAT #: LR 111B-LP
BLACK MERDA Black Merda (Clear Beer Vinyl) LP
Hailing from late-'60s Detroit, Black Merda (pronounced "Murder") were both aesthetically and musically way ahead of their time. When most black groups (including Parliament/ Funkadelic) were still sporting suits, singing about love and using a horn section, Black Merda had already become a tight guitar-heavy freak-funk four-piece. By weaving guitar rock and psychedelia into soul and R&B they were the gods of the underground "black rock" movement which fell somewhere between Jimi Hendrix and Parliament and MC5. But it wasn't just about the music, the message was just as important. Clear beer vinyl.
LR 130P-LP
PRICE: $22.00
CAT #: LR 130P-LP
CURE, THE Three Imaginary Boys PIC. DISC
2020 repress. The undisputed leaders of the early gothic scene, and a seminal band that contributed to the rise of British post-punk, The Cure recorded their debut album Three Imaginary Boys at London's Morgan Studios and released it in May 1979. After touring for almost all of 1977, the band changed their name to The Cure and rearranged their line-up with the sacking of Porl Thompson, giving birth to an unusual power trio. This line-up lasted only for their first album, making it unique in its essentially minimal sound. The year was now 1978, and the three (imaginary?) boys soon signed to Chris Parry's Fiction Label.
PRICE: $34.00
CAT #: AVO 001LP
CORBEN, GARY Gods In Brasil LP
In the mid-90s, Gary Corben lived in Rio sharing a flat with Kassin, then in an unknown local band but later to become one of Brazil's greatest producers working with Gal Costa, Caetano Veloso, and Gilles Peterson. Back then, Gary used to constantly write songs but could never be persuaded to do anything with them. But the songs would stick in Kassin's head and plague him for years. Over the following decades, Kassin would regularly ask "what about your album?" and Gary would shrug and say, "yeah, maybe, one day". Then, in 2018, Kassin played in London with members of multi-platinum Polish supergroup Mitch & Mitch and this time when Kassin posed the question, Gary said "Yes! Let's do it, but we have to do it in Poland with these guys." This led to recording Gods In Brasil at the Polish Radio Studios in Warsaw with the Mitch & Mitch guys and a bunch of classical sessions musicians and finishing off in Kassin's studio in Rio with some special guests. The record turned out so well that Gods In Brasil Vol 2 is already under way. The album touches on the classic sounds of '60s and '70s Brazilian records with nods to Gary McFarland on the way. The song "Juanito Caminante" is a favorite with Joao Donato who was a huge influence on the sound of the album. The arrangements were shared between Alberto Continentino and Ryszard Borowski of the Polish Radio Big Band. Thick cardboard cover with obi; 180 gram vinyl.
PRICE: $31.00
CAT #: MAR 014LP
WORLD QUAKE BAND Everything Is On The One LP
Mad About Records present a reissue of World Quake Band's Everything Is On The One. Ultra-rare modern soul boogie album released in 1980 in a private press. The band leader was Carl Crowder who was also in the Mighty Ryeders. Monster Miami funk, dancefloor album, reissued on vinyl for the first time. Limited edition with obi; numbered.
PRICE: $31.00
CAT #: MAR 024LP
RATIP, ARMAN The Spy From Istanbul LP
Mad About Records present the first official worldwide reissue of Arman Ratip's The Spy From Istanbul, originally released in 1973. A killer Lansdowne Series UK jazz LP featuring Soft Machine sidemen from '73. This is one of Top 10 British jazz, and it's indeed superb. Also, it's supposedly the soundtrack to a book Ratip was going to pen. Arman Ratip began his piano lessons with his mother Jale Dervi? at the age of five. He began composing at the age of seven and was a child prodigy. Later his musical career took off in London when he recorded two albums for EMI. After concerts in London, Vienna, Salzburg, Bucharest, Ankara International Music Festival, Istanbul, Marlborough International Music Festival, Bursa, Berlin, Islamabad, The North Cyprus International Music Festival, music critics hailed him as a brilliant virtuoso pianist-composer. He is among the top leading pianist-composers of avant-garde, improvisational music and a jazz pianist of avant-garde jazz and Turkish jazz. Deluxe limited edition, numbered, with obi.
PRICE: $31.00
CAT #: MAR 025LP
Mad About Records bring together all the great soul classics of the '70s from Carlos Dafé for the first time on vinyl. One of the greatest representatives of Brazilian soul music, Carlos Dafé has been recorded by such artists as Tânia Maria and Nana Caymmi, in addition to his solo career (registered in six albums from 1977 to 1997). Carlos Dafé had his first model as musician in the figure of his father, who taught him several instruments and introduced him to choro and samba traditions. In the '60s, Dafé exercised his vocal possibilities as a crooner in São Paulo and Rio's nightclubs. His first solo album came in 1977 Pra Que Vou Recordar. Influenced by Tim Maia and Cassiano, the Carioca (from Vila Isabel) suburban Carlos Dafé developed their soul music tinge, first reflected in his 1978's Venha Matar Saudades, where he was backed by the Banda Black Rio. With a career lasting over five decades, Dafé is one of the precursors -- together with Tim Maia, Hyldon, Cassiano, Gerson King Combo, among others -- of the soul music movement in Brazil, the Black Rio Movement. In his repertoire are classics like "Pra That I Will Remember What I Cried", "The Cross", "Everything Was Beautiful", and "The Day Dawned With Joy". Successes that enshrined his name in the history of MPB. From the journalist Nelson Motta, Carlos Dafé received the title "Prince of Soul". Deluxe limited edition, numbered, with obi.
PRICE: $31.00
CAT #: MAR 026LP
VINHAS, LUIS CARLOS O Som Psicodelico de L.C.V. LP
Mad About Records present the first official worldwide reissue of Luis Carlos Vinhas's O Som Psicodelico, originally released in 1968. O Som Psicodelico is an all-time classic and a landmark in Brazilian music. Psychedelic bossa jazz. Pianist from Rio de Janeiro, he started playing at night in the late 1950s, quickly participating in the bossa nova movement. He joined the legendary Bossa Três alongside drummer Edison Machado and bassist Tião Neto, with whom he recorded three albums in the United States in 1962. Back in Brazil, he continued to perform with Bossa Três alongside other works with Jorge Ben, Quarteto em Cy, Elis Regina, and many others. Vinhas was one of the great exponents of bossa nova. He worked as a pianist at Beco das Garrafas. He also formed one of the first musical groups of this period, Bossa Três, which, in 1966, with Leny Andrade and Pery Ribeiro on vocals, was renamed Gemini V. In 1963, he released the album The Bossa 3. In 1964, he participated in the fabulous album O Som by Meirelles e Os Copa 5. Also in 1964, he recorded the phenomenal Lp - Novas Estruturas. In 1968m he released O Som Psicodélico de Luiz Carlos Vinhas, a bold mix of jazz with the sounds that came from the tropicalist movement and psychedelia. This LP is a milestone in Brazilian music and very rare in its original edition. 180 gram vinyl in hardcover sleeve; Deluxe limited edition, numbered, with obi.
PRICE: $19.00
CAT #: MVD 3689DVD
POE, AMOS Unmade Beds DVD
"See Debbie Harry in this 1976 drama from 'No Wave' filmmaker Amos Poe. This is the story of Rico in New York City, who imagines he lives in Paris during the time of 'New Wave' filmmaking. He's a photographer who thinks he's an outsider, so he uses his camera like a gun, loading it with bullets of film. He seeks reality to fulfill his fantasy. but, he's also a romantic, and this is his downfall, especially when he falls in love with the adorable Blondie. When Rico falls in love, the delicate balance of the world he has made for himself is disrupted."
PRICE: $15.00
CAT #: MVD 4075DVD
SWANS Where Does A Body End? DVD
"Where Does a Body End? is an intimate portrait of the band SWANS, from their roots as a brutal, confrontational post-punk band that emerged from the same early 1980s era NYC that gave us Sonic Youth (and, somehow, Madonna) through their ill-fated bid at mainstream success in the '90s indie-rock gold rush, through breakups and chaos (on and offstage) to their odds-defying current status as one of the most accomplished and ambitious bands in the world, one whose concerts are more like ecstatic rituals than nostalgic trips back through their most popular songs. SWANS has always been a collection of singular performers, but there's been one constant since its formation in 1982 -- singer, songwriter Michael Gira. With unfettered access to hundreds of hours of Gira/SWANS archives of never-seen-before recordings, videos, and photographs, the film brings us along the path they needed to carve for themselves. The film is many things, a musical history, a time-capsule, a tour diary, a concert film, but mostly it's the story of a life in the arts, frequently difficult, spanning decades without a safety net, creating the work because Gira says 'What else am I going to do?' As bandmate Thor Harris notes, 'Michael is not a fearless person, but he is a fearless artist.'"
PRICE: $17.50
JAMAL, AHMAD Chamber Music Of The New Jazz LP
Reissue. Often taken as inspiration by the likes of Miles Davis and Gil Evans, Ahmad Jamal is definitely one of the greatest artists in jazz history. Recorded in 1955 and originally released on the short-lived Parrot label, Chamber Music Of The New Jazz is a stunning example of the creative, elegant, and precious music played by Ahmad Jamal's early trio. The fruit of the magical interplay between Jamal's sophisticated pianism, Ray Crawford's highly rhythmic guitar playing, and Israel Cosby's fine double bass. Three musicians whose individual roles are fully expressed through the collective approach to a new form of "chamber" jazz.
PRICE: $17.50
Reissue. Recorded in 1957 and released on the Prestige label, The Sounds Of Yusef features Yusef Lateef's quintet with Wilbur Harden (flugelhorn), Hugh Lawson (piano), Ernie Farrow (bass), and Oliver Jackson (drums). Lateef's aesthetic was a perfect mixture of hard-driving jazz and a variety of ethnic materials. Even though if compared to later works, Sounds Of Yusef is still very much rooted in jazz while the use of traditional ethnic instruments adds colors and flavors without really deviating from the American jazz tradition. Lateef shines on both tenor sax and flute while the rhythm section swings hard throughout a varied repertoire including an airy version of Strayhorn's ultra-classic "Take the A Train" and a contemplative Lateef's original called "Meditation".
PRICE: $17.50
Lee Morgan (trumpet), Wayne Shorter (tenor sax), Bobby Timmons (piano), Jymie Merritt (bass), and Art Blakey (drums). This was one of Blakey's strongest line ups ever. A powerful and highly dynamic combo featuring young and yet very distinctive personalities driven by Blakey's unprecedented force of nature. Hard bop fans will be delighted by the re-release of this famous concert held in Lausanne (Switzerland) in 1960, where the second set featured, among others, an intense rendition of Monk's classic "'Round About Midnight" and the famous inflamed take on "A Night In Tunisia".
NA 5103LP
PRICE: $21.00
CAT #: NA 5103LP
WITCH Introduction LP
2020 repress. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."
NA 5123LP
PRICE: $30.00
CAT #: NA 5123LP
2020 repress. "Issued in 1975, this is the articulation of Zambia's Zamrock ethos. While other albums -- Rikki Ililonga's Zambia, Witch's Lazy Bones!! -- are competitors, it's hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks -- hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, 'because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed. ' Thus, their 'Kale,' a blues sung in Nyanja, that traced the continent's arc from slavery to Zambia's independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa's vibe ranges from anxious ('Amanaz') to escapist ('Easy Street') to straight-up pissed-off. On the 'History of Man,' his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There's a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu's more restrained 'Khala My Friend,' which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there's the clear Velvet Underground-influence on the nostalgic 'Sunday Morning,' which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release -- and the underground funk of 'Making the Scene.' The album also tackles traditional Zambian music and early-'60s rock -- punctuated, of course by Kanyepa's wah-wah and Mpofu's fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. 'Green Apple' is a civil song, featuring Kanyepa's sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu's and Kanyepa's lead and rhythm guitars, to the vocal harmonies, to the rhythm section's sense of space and time, which allows Africa's funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We've presented them both here as they each have their appeal: it's up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue."
NA 5157LP
PRICE: $33.00
CAT #: NA 5157LP
LIGHTMEN PLUS ONE, THE Energy Control Center 2LP
2020 repress. Double LP version, tip-on gatefold jacket. "Revolutionary, spiritual jazz from the unlikely city of Houston, Texas: the definitive issue, mastered from the original tapes. Bonus disc contains previously unreleased tracks. Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Energy Control Center, his third LP with his Lightmen band is his masterpiece: deep-set, maverick jazz on par with the best Tribe and Strata East titles. This is a highpoint amongst the best of the 1970s jazz underground, a collective voice of resistance to the musical and cultural status quo. Contains second disc with bonus tracks: unreleased alternate takes, including two versions of the spiritual jazz classic 'All Praises To Allah', all housed with an extensive booklet with photos and liner notes."
NA 5183LP
PRICE: $26.00
CAT #: NA 5183LP
MILLER, LLOYD Oriental Jazz LP
2020 restock. "Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents' desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he'd first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller's conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like 'Tuareg African music is blues, just with no chord changes.' Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he'd cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school's practice rooms. Despite Lloyd's professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution."
PRICE: $21.00
VANDEWOLKEN, LINUS Het Vlier, Een Hommel Op Aarde 2x10"
Okraina presents Linus Vandewolken's Het Vlier, Een Hommel Op Aarde. "What you are listening to is the sound of a forgotten instrument. Nowadays it seen rarely outside of museums in Brussels and other places you most likely have never heard of. It is not spectacular; its simplest version is just a long thin box with strings on top. Some of the strings are melody strings, which have frets placed underneath them, the others are drone strings that have no frets. Traditionally it was strummed with a goose feather and notes were made by sliding a hard stick with a handle, from fret to fret on the melody strings leaving the drone strings ringing openly. The constant hum of the drones is where the name of the instrument comes from: bumblebee, which in Flemish, is a hommel. The hommel has now all but disappeared from the collective memory of Flanders. If it is seen outside of a display case, it is usually being played in a static way, denied the right to evolve and find a more contemporary voice. I saw the hommel for the first time years ago at the Volksinstrumentenmuseum in Gooik. Curious to how it would sound, I suggested to my father that we make one. It's not the most elaborate example of a hommel, but, with the relationship I have forged with it over time, it's a beauty to me. I do not play in a traditional way: I pluck, fingerpick, tap, and bow amplified flat-wound electric guitar strings. I change the notes with my fingers, metal sticks, steel tubes, and the hard stick with a wooden handle which has a special name : the vlier. I play in a Eb/Bb tuning to be in harmony with the tin whistles you hear from time to time and occasionally play shakers. The songs in this collection are not traditional either, they are inspired by cycling around Flanders and the landscape that surrounds my home in Niemandaal. Until I was 40, I only played at home. Since my first public concert, I have been invited to play more in many locations. Thanks to Okraïna, you now have this record in your hands. I chose to keep the recordings quite raw in the hope that the natural reverb and warmth of your listening space can evoke the music's spirit.'' --Linus Vandewolken
PRICE: $21.00
Maher Shalal Hash Baz's Je Est Un Autre is not a "best of", it is a reflection of Tori Kudo's evolution as a composer, from playing with seasoned musicians, to playing with people just starting out, from playing meticulous scores, to playing call and response melodies written down, to the songs presented here. These are instant improvisations based on keyboard compositions that Tori plays for the group. Yes, that is it. He plays a recording of himself on the keyboard, with singing or humming sometimes and he leaves it to the "big band" to interpret this on the spot. Sometimes, one can make out the melody, other times it is quite obscure, as if a sort of common shyness flows out of the collected instruments assembled. And other times, well, it is a big party. Kudo and the group were invited to tour Europe to celebrate 20 years of the project Le Ton Mité, members of which are absorbed into the ensemble. The recording evolves from the static sound of hermetic conditions to a live concert in the later tracks. The studio here, a trendy concert hall in Brussels. One can hear the applause of the brave ears that weathered the ride of accidental psychedelia and the moiré of various notes fading into and out of each other. This is only a sliver of the material from the 20-hour recording marathon documenting the new composing/playing style of Kudo, as well as snippets from the last concert of the March 2018 tour. Perhaps the album should be called Je Est Un Autre: Volume One in a vague reference to the My Brother The Wind series from Sun Ra. In any case, here are four sides of ten inch vinyl to take the listener on a journey into Maher: Je Est Un Autre...
OPT4 028LP
PRICE: $34.50
CAT #: OPT4 028LP
MCCARTHY The Enraged Will Inherit The Earth 2LP +7"
Originally released in 1989. McCarthy's The Enraged Will Inherit The Earth is a musical molotov cocktail that's a mixture of power chords and virile, virtuous lyrics. The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn't get enough of a user base to make its intended impact. If the question was ever proposed, "can art be a weapon?" this album answers with a bold and resounding "yes." Includes the singles "Boy Meets Girl, So What," "Should The Bible Be Banned," "Keep An Open Mind Or Else," and "This Nelson Rockerfeller". Limited-edition set contains the original LP plus a ten-track bonus LP and a bonus 7" with two previously unreleased tracks. Remastered and pressed on color vinyl with a reworked sleeve by original designer Andy Royston.
PRICE: $25.00
CENTRY Centry In Dub - Thunder Mountain LP
A welcome reissue of an essential dub set from Centry, originally appearing on the Conscious Sounds label in 1993. Featuring ten varied-in-style rootical dubs from Centry consisting of Nigel Lake, Chris Petter, and Dougie Wardrop, with the set mixed by the latter. Features some blazing horns and vocal snippets (from Danny Red, King General, Barry Issac) dubbed and phased to the max. Edition of 500.
PP 046LP
PRICE: $25.50
CAT #: PP 046LP
KOMARE The Sense Of Hearing LP
Penultimate Press present the debut full-length from Komare, a UK outfit based somewhere between south-eastern edges of London borough and the Swale. Komare is Dominic Goodman and Peter Blundell who also make up two thirds of Mosquitoes. Somewhat of an estranged cousin to Mosquitoes take on re-ruffled rock, Komare resides more as a dub influenced exploration of the outer fringes, creating a thick vibrational delusion. Somehow like Zweistein mixing a Robert Ashley record, Komare is an exceptional space and time stretching disorientation. In the process of rendering reality redundant Komare gleefully lead the listener into a netherworld of holographic, hallucinatory audio. Shades of Monoton and Pyrolator may also be detected as can the impression of intoxicants wafting around the mixing console. This is a state where humans and machines, though present, are smeared of all traceable attributes. The depths of the journey move further into a netherworld as the album progresses/disintegrates. Not necessarily one for the beauty seekers, Komare is an extremely deep trip concocted by two unbridled creative crusaders. Clear vinyl in a screen-printed wrap around sleeve; edition of 400.
PRICE: $20.00
Zombies are undead by nature and these ones seem to be not only not dead, but very much alive and active: Zombies In Miami is a project created by Canibal & Jenouise and despite the name they are not crawling around Miami, but shining out their light from Mexico. The couple became one of the most prominent members of Mexico's vital electronic scene over the last decade. You can call their sound a rhythmic and synth-driven house and techno hybrid, with a disco and Balearic twist, which is held together by the oh so sweet Italo drama. As the living dead always seemed to be a big inspiration for Italian filmmakers, the love seems mutual and the movie scores rubbed off on the other end as well. After highly acclaimed EPs and tracks for such diverse labels as Gerd Janson's Running Back, Jennifer Cardini's Correspondant, Prins Thomas's Internasjonal as well as Hippie Dance or Bordello A Parigi, now it's time for the great couple's first album: 2712 on Permanent Vacation. The vast experience of Zombies In Miami as a long-lasting music production team, as well as performing live acts around the world (which brought them to the some of the best clubs and festivals on this planet) culminates in eight tracks that perfect their futuristic retro sound. An ideal match for Permanent Vacation! You probably won't find a better combination of Italo arpeggio lines, house pianos, disco drums as well as sun kissed and mythical soundscapes for your summer soundtrack. Includes download voucher.
PRICE: $17.50
ZWEIKOMMASIEBEN Zweikommasieben #21 MAG
Zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. Issue #21 includes: interviews with Anthony Pateras, Asma Maroof, Ben Vince, MC Buzzz, Dasychira, East Man, Laila Sakini, Lung Dart, Lyra Pramuk, Mark Knekelhuis, Sicaria Sound, Sonia Calico, Stine Janvin, and VTSS. Essays on Nicolás Jaar as well as by Annie Garlid and Flora Yin-Wong. Contributions by A ?lolder (aka Powell, Michael Amstad, and Marte Eknæs), Èlg, and the Nihilist Spasm Band. Columns by Alex Rudolph (feat. poetry by Chirstof Szalay), George Gatsas (photos), and Michael Eby ("Art Review" on an exhibition by Graham Lambkin). Bi-lingual EN/DE; 144 pages; size 200 x 285mm; edition of 2000.
PRICE: $25.50
CAT #: RRS 107LP
GERMS Cat's Clause LP
The Germs are one of the most legendary and venerated of all Los Angeles hardcore punk bands. The roots of the group stemmed from the meeting of two minds at an alternative school in the late 1970s, when future vocalist Jan Paul Beahm, AKA Darby Crash, met guitarist George Ruthenberg, AKA Pat Smear, the latter a reformed Jesus freak. Spearheading the west coast hardcore scene, the band burst into public consciousness with an explosive performance at The Whisky in 1977 (introduced by future Go Go Belinda Carlisle and KROQ disc jockey Rodney Bingenheimer), with Crash (then known as Bobby Pyn) and Smear joined by bassist Lorna Doom and drummer Donna Rhia, this line-up featuring on debut single, "Forming". Crash's rambling, sneering and often sarcastic vocals were the perfect foil to Smear's superfast thrash-guitar licks, and Smash was a dynamic frontman too, despite his volatile personality. After borrowing Weirdos drummer Nicky Beat for the "Lexicon Devil" single, debut album GI (1979), incongruously produced by Joan Jett of The Runaways, saw the introduction of Arizona-born drummer Nicky Bolles. The band's revered status and early innovation kept them on top of the LA punk scene heap, yet Crash ended up overdosing on heroin in December 1980, his death an apparent suicide. After releasing solo material in the late 1980s, in 1992 Smear was asked to replace John Frusciante in The Red Hot Chili Peppers but opted to join Nirvana instead, his presence there sparking the Germs revival that yielded the outtakes and live rarities set, Cats Clause, which includes rare live material from the Hong Kong Café, as well as material from Crash's final concert at the Starwood in 1980, and more rare material. Limited edition blue vinyl. Gatefold sleeve and printed inner sleeve with rare photos and other memorabilia. Also includes a 60x60cm poster. Edition of 200. Licensed from San Juan Music.
PRICE: $23.00
XENAKIS, IANNIS GRM Works 1957-1962 LP
2020 repress, originally released in 2013. Recollection GRM assembles Greek experimental composer Iannis Xenakis' works for Groupe de Recherches Musicales circa 1957-1962. "Concret PH" (1958) was assembled for the Brussels World Fair. The industrialist Philips commissioned Le Corbusier's famous "Philips Pavilion": "I'll create an electronic poem for you, he said. Everything will happen inside: sound, light, color, and rhythm." Iannis Xenakis designed the architectural blueprint and composed "Concret PH" meant to psychologically prepare the public for the show created inside, accompanied by a musical piece by Edgard Varèse. The 400 speakers that lined the inner shell were meant to fill the space through the sound sparkles of "Concret PH" and achieve a joint emanation of architecture and music, conceived as a whole: the roughness of the concrete and its internal friction coefficient found an echo in the timbre of the sparkles. "Orient-Occident" (1960) was originally composed for a film by Enrico Fulchignoni for UNESCO. The film describes a visit to the museum comparing artifacts produced by various cultures and highlighting their interaction, dating back to ancient times. From an abstract point of view, the composer regards this work as a solution to the problem of finding highly diversified means of transition, meant to link a type of material to another. One indeed witnesses a varied gradation of mutations, interplays, overlaps, cross-fading, sudden shifts, and hidden junction points. "Diamorphoses" (1957-1958) portrays continuity and discontinuity within evolution. Here are two aspects of being, whether in opposition or in communion. In "Diamorphoses" this antithesis was illustrated sections of sound strongly opposed to others, and particularly in organizations of continuous variations of average or "statistical" heights. "Bohor" (1962): Bohor (referring to Bors the Younger, Lancelot's cousin), is a character from the medieval cycle of King Arthur and the Knights of the Round Table. "Bohor" is dedicated to Pierre Schaeffer. The author deliberately abstained from giving any descriptive information on his piece, letting the listener choose an imaginary route for himself. This release presents the 1968 version, revised by Iannis Xenakis himself and as yet not made available to the public. "Even though Iannis Xenakis never made 'musique concrète' in the sense given by Pierre Schaeffer, the GRM was a locus for experimenting with his ideas about sound and sound structures. These works, composed between 1958 and 1962, show a boldness as advanced as in his orchestral approach. The relationship between Xenakis and Schaeffer was often tense. It nevertheless entailed mutual recognition and respect towards each other's musical approach. Schaeffer found the piece disproportionate in terms of intensity but was indeed pleased by the dedication. The four pieces presented here, all produced at the GRM, undoubtedly demonstrate the experimental intent and the strictly 'physical' character of Xenakis' music, in that it provides the audience with a listening experience of a rare intensity." --François Bonnet & Christian Zanési; Cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2013. Layout by Stephen O'Malley. Executive Production by Peter Rehberg.
PRICE: $15.00
"From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff-fueled compositions. Recorded entirely in forty-eight hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie: 'It's 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain't pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumor has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?' The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers."
PRICE: $23.00
BLACK HELIUM The Wholly Other LP
Black Helium aim to deliver a lysergic heterogeneous sprawl on this, their second LP The Wholly Other. From the blunt thunderous groove of "Hippie On A Slab" to the narcotic tranquility of "Teetering On The Edge", via the hypnotic ascension of "Pink Bolt". "The Wholly Other" was recorded live over two loud, sweat drenched days in August 2019 by Wayne Adams at Bear Bites Horse Studio, just before the band embarked on a UK tour with Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs. Black Helium are a four-piece psychedelic rock group, based in London. Never afraid to stray from the beaten path, they traverse aural hallucinatory soundscapes; from detuned Neanderthal rock to deep oceans of introspective blissed out psychedelia. Influences include, amongst many: Amon Düül II, Loop, Hawkwind, The Stooges, The Groundhogs, Spacemen 3, and Electric Wizard. Black Helium are: Stuart Gray (vocals, guitar), Beck Harvey (bass, vocals), Diogo Gomes (drums), Davey Mulka (guitar). Includes download code. Edition of 400.
PRICE: $23.00
It's hard to say how Mummise Guns actually came to be a thing. What is certain is that Tracy Bellaries and Matt Ridout had shared a flat for a while and were often speaking about forming a group to have an outlet for some music that Tracy had written, but above and beyond that initial idea the rest is slightly hazy, or perhaps murky is the better word. Where, why, and how the rest of the group got involved is not 100% clear, but the initial lineup of Tracy, Matt, Adam Ian Sykes, Cleaver, and Alex Wilson prepped three of Tracy's songs and three of Matt's into something solid enough to record by early 2017 and the band dropped into Wayne Adam's Bear Bites Horse Studios in East London to track their debut self-titled LP, with Al and Adam adding further recordings at Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant's Blank Studios in Newcastle. After that, it's safe to say things got busy. Pigs Pigs Pigs Pigs Pigs Pigs Pigs took over the airwaves with a series of incredible LPs on Rocket Recordings, Luminous Bodies wrote and recorded an absolute belter of a second album for Box Records, Casual Nun dropped a couple of full-length smashers and a split with Bruxa Maria on Box Records and Hominid Sounds, Ghold released a killer LP on Crypt of the Wizard, and Black Shape and Michael both dropped some classics on Hominid Sounds and Cracked Ankles respectively. Yet, throughout all of this intense activity, the Mummise Guns LP lurked in the shadows like a malevolent beast just waiting for the right moment. That moment was early 2019 when everyone regrouped at Bear Bites Horse, including new addition Gordon Watson, for some final overdubs and mixing. And here it is, 2020, and the proof of all this hard graft is finally available to you. So here are six tracks of noise-fueled amphetamine that is perfect to drive all the right people from your house and attract all the wrong ones in. Mummise Guns are: Tracy Bellaries - bass (Part Chimp, Luminous Bodies, Ikara Colt); Cleaver - drums (Michael, Black Shape); Matt Ridout - guitar (Dethscalator, Casual Nun); Adam Ian Sykes - guitar (Pigs Pigs Pigs Pigs Pigs Pigs Pigs) Gordon Watson - guitar (Terminal Cheesecake, Luminous Bodies); Alex Wilson - vocals (Ghold, Shuck). Edition of 300.
PRICE: $30.00
CAT #: RIP 002LP
2020 repress. "Reissue of Poobah's classic 1972 proto-metal epic. Apart from the original release, there is plenty of unheard-of material on this double LP." Gatefold sleeve.
PRICE: $16.00
CAT #: ROG 102CD
"Morris' and Reid's album is a challenge and argument for future, and more frequent, cello and guitar duo explorations. Tomeka Reid (cello), Joe Morris (guitar)."
PRICE: $25.00
AKSK Things We Do LP
AKSK is the collaborative effort of Adda Kaleh and Suzanne Kraft. Recorded over the course of almost seven years and despite local separation or virtual realities, it sums up the magic that already inhered in their debut song "Breaking" for Gerd Janson's Musik for Autobahns compilation on Rush Hour (RH 125CD/LP, 2013). An eight-track LP of crystalline chansons and pastels pop that features the skills of The Coober Pedy University Band aka CPUB (Tornado Wallace and William Paxton) on dub duties to complete the magical musical mysteries of AKSK.
PRICE: $32.00
CAT #: RBL 072LP
2020 repress. Limited edition LP version on red marble vinyl, housed in a gatefold sleeve with insert. "The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus."
PRICE: $23.50
The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concrète threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions, and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date. Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to "elevate the everyday," transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition. Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone. But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, "Champagne Smoke." A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house. 14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation from July 29th to October 29th, 2020. Designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve. Includes a 16-page limited edition score book. Mastered and cut by Kassian Troyer at Dubplates & Mastering.
OZ 1000LP
PRICE: $24.00
CAT #: OZ 1000LP
"First legitimate reissue of one of the best US private press hard rock/progressive rock albums of the 1970s. From the master tapes. Formed in 1969 in Houston, TX, Oz Knozz's original crew included multi-instrumentalists Jack Alford, Bill Massey and Duane Massey. Alford left the group in 1971 and was replaced by drummer Marty Naul, while the next year the trio was joined by guitarist Richard Heath. The band had also a three-man horn section, which was dropped quite fast, although horns remained a part of the band's sound, even on their rare and epochal 1975 private press debut Ruff Mix, released on the band's own Ozone label. Ruff Mix mainly grooves in hard rock territory -- the second track "Peanut Butter Yoni" sounds a bit like Judas Priest with a proto-metal feeling; but the album also has elements of progressive rock, horn rock, and pomp rock. Like most bands of the era, the idea was to throw out a few different styles to see if something would stick... the theory being that a major label would hear the private album by chance and sign said band so they could open for Led Zeppelin or Foghat's next US tour... or something like that. What separates Oz Knozz from others is a strong compositional component, the band have plenty of original ideas and muster superb instrumentation. The guitar work ranges from hard and powerful to melodic and bluesy and is supported by some great keyboard, including awe-inspiring organ and synth waves. The three-part 15-minute 'Doodley Squat' suite features heavy dual keyboard parts, crunchy guitars and expressive vocals; the result is a terrific hard prog track with lot of energy. For many, the standout track is the groovy and infectious horn rocker, which sounds as dated as the movement itself and easily could have been from 1969. High energy and impressive songwriting. Love it."
PRICE: $16.00
FUTTERMAN TRIO, JOEL In-Between Position(s) CD
"Performed by three masters, this album lets listeners to view the ephemeral world of improvisation very near its zenith. Joel Futterman (piano), Jimmy Lyons (alto saxophone), Robert Adkins (drums, percussion)." Reissue of an old R+R/Bellaphon CD from 1990. Originally recorded live May 13, 1982 at Warwick Hall Newport News, Virginia
PRICE: $12.50
CAT #: SYL 011CD
New eagerly awaited album from the maverick Kutiman, based on field recordings he made in Tanzania of local musicians, then manipulated, layered and expanded in his home studio. People have been living around the foothills of Mount Kilimanjaro for millennia. One day in 2014 another jeep pulled up, in a rural neighborhood where many people from the Wachaga nation live, work and play. This jeep contained Ophir "Kutiman" Kutiel, the producer, multi-instrumentalist, and filmmaker who is get-stopped-in-the-supermarket famous in his home country despite being terminally shy of the spotlight. Kutiman carried microphones, video recording equipment and a request for creative collaboration to Tanzania -- and he left Wachaga with a set of recordings. Some of these were of everyday sounds and some contained special sounds: school children from the city of Arusha playing drums or the dancers who wore bells to add a percussive element to the movement, like the metal plate in a tap dancer's shoe. This fourth studio album is a combination of the material he collected on his 2014 trip with recordings made with saxophonist Shlomi Alon, trumpeter Sefi Zisling, and trombonist Yair Slutzki, alongside his own playing and studio wizardry. He was listening to a lot of spiritual jazz during the recording, and in a departure from his usual cut-and-paste style, played on top of the recordings. Horns and synth melodies spiral across borrowed rhythm patterns and chants which provide the bedrock around which Kutiman builds his own musical dwelling, creating new pathways of jazz, psychedelia and circular meditative zone-outs. Returning home from his trip to the self-organised kibbutz community where he lives in the western Negev desert, he began dipping into the recordings to see how he could use them as a starting point for his own musical and visual explorations. Fast forward six years, and there's Wachaga, an audiovisual feast which contains nine tracks and nine kaleidoscopic video pieces, named after the 2.4 million Tanzanians who live mostly on the southern and eastern sides of Mount Kilimanjaro. RIYL: Khruangbin, Kamasi Washington, Strut Records, Soundway.
PRICE: $25.00
CAT #: SYL 011LP
LP version. 180 gram vinyl; gatefold sleeve. Edition of 300. New eagerly awaited album from the maverick Kutiman, based on field recordings he made in Tanzania of local musicians, then manipulated, layered and expanded in his home studio. People have been living around the foothills of Mount Kilimanjaro for millennia. One day in 2014 another jeep pulled up, in a rural neighborhood where many people from the Wachaga nation live, work and play. This jeep contained Ophir "Kutiman" Kutiel, the producer, multi-instrumentalist, and filmmaker who is get-stopped-in-the-supermarket famous in his home country despite being terminally shy of the spotlight. Kutiman carried microphones, video recording equipment and a request for creative collaboration to Tanzania -- and he left Wachaga with a set of recordings. Some of these were of everyday sounds and some contained special sounds: school children from the city of Arusha playing drums or the dancers who wore bells to add a percussive element to the movement, like the metal plate in a tap dancer's shoe. This fourth studio album is a combination of the material he collected on his 2014 trip with recordings made with saxophonist Shlomi Alon, trumpeter Sefi Zisling, and trombonist Yair Slutzki, alongside his own playing and studio wizardry. He was listening to a lot of spiritual jazz during the recording, and in a departure from his usual cut-and-paste style, played on top of the recordings. Horns and synth melodies spiral across borrowed rhythm patterns and chants which provide the bedrock around which Kutiman builds his own musical dwelling, creating new pathways of jazz, psychedelia and circular meditative zone-outs. Returning home from his trip to the self-organised kibbutz community where he lives in the western Negev desert, he began dipping into the recordings to see how he could use them as a starting point for his own musical and visual explorations. Fast forward six years, and there's Wachaga, an audiovisual feast which contains nine tracks and nine kaleidoscopic video pieces, named after the 2.4 million Tanzanians who live mostly on the southern and eastern sides of Mount Kilimanjaro. RIYL: Khruangbin, Kamasi Washington, Strut Records, Soundway.
PRICE: $29.00
KUTIMAN Wachaga (Splatter Vinyl) LP
LP version. Splatter vinyl. 180 gram vinyl; gatefold sleeve. Edition of 300. New eagerly awaited album from the maverick Kutiman, based on field recordings he made in Tanzania of local musicians, then manipulated, layered and expanded in his home studio. People have been living around the foothills of Mount Kilimanjaro for millennia. One day in 2014 another jeep pulled up, in a rural neighborhood where many people from the Wachaga nation live, work and play. This jeep contained Ophir "Kutiman" Kutiel, the producer, multi-instrumentalist, and filmmaker who is get-stopped-in-the-supermarket famous in his home country despite being terminally shy of the spotlight. Kutiman carried microphones, video recording equipment and a request for creative collaboration to Tanzania -- and he left Wachaga with a set of recordings. Some of these were of everyday sounds and some contained special sounds: school children from the city of Arusha playing drums or the dancers who wore bells to add a percussive element to the movement, like the metal plate in a tap dancer's shoe. This fourth studio album is a combination of the material he collected on his 2014 trip with recordings made with saxophonist Shlomi Alon, trumpeter Sefi Zisling, and trombonist Yair Slutzki, alongside his own playing and studio wizardry. He was listening to a lot of spiritual jazz during the recording, and in a departure from his usual cut-and-paste style, played on top of the recordings. Horns and synth melodies spiral across borrowed rhythm patterns and chants which provide the bedrock around which Kutiman builds his own musical dwelling, creating new pathways of jazz, psychedelia and circular meditative zone-outs. Returning home from his trip to the self-organised kibbutz community where he lives in the western Negev desert, he began dipping into the recordings to see how he could use them as a starting point for his own musical and visual explorations. Fast forward six years, and there's Wachaga, an audiovisual feast which contains nine tracks and nine kaleidoscopic video pieces, named after the 2.4 million Tanzanians who live mostly on the southern and eastern sides of Mount Kilimanjaro. He made the video strand of the release over a couple of years. The films are trippy and hypnotic, reflecting the emotions he felt while recording the music. RIYL: Khruangbin, Tom Misch & Yussef Dayes, Kamasi Washington, Strut Records, Soundway.
PRICE: $23.00
Reuben Vaun Smith hadn't intended to be a musician; he was supposed to be on the football pitch. As a young prodigy, he was signed to the Leeds United youth team as a rising talent and by 16 he'd been spotted and signed by Sevilla in Spain. But the dream was over before it really began. At 18, he suffered a life-changing knee injury, catastrophically stopping his career in its tracks for good. With no back-up plan, Smith moved back to Yorkshire and contemplated what to do next. Not long after, his grandfather bought him a MIDI keyboard -- and Smith retreated to the shed at the end of his garden and started to teach himself music production. In a world full of sonic musical snobbery, a world full of the hierarchy of expensive hardware and software -- Smith delivers a unique raw, live and improvised style using an inexpensive keyboard and a computer program given to him on a memory stick by one of the punters in his dad's pub. He joins a long list of musicians that were somehow detached from the rule-bound world of the music industry -- making music as much for themselves as for anyone else. With no formal musical education and not over influenced by mixing techniques that may have slowed his raw stream of musical consciousness, here Soundway present some of his earliest musical sketches and heartfelt outpourings. Drawing on the Balearic style of the 1980s, Smith invokes the sound of warm nights, lapping oceans and a young man, in a Yorkshire shed, wrapping himself in layers of musical warmth and shimmering sonic landscapes. RIYL: Harvey Sutherland, Chaos in the CBD, Hidden Spheres, Bonobo, St Germain, Flamingo Pier.
PRICE: $11.00
GOLDMAN, VIVIEN Launderette 7"
First-ever reissue of Vivien Goldman's legendary Launderette 7", produced with Adrian Sherwood and Public Image Limited's John Lydon and Keith Levene in 1981. The contrast between Vivien's high, lilting tones and the deep rumble of the bass is a hallmark of all Goldman's work, giving a haunting frisson of sex and alienation to songs like "Launderette", which was produced with PiL's John Lydon and Keith Levene. Vivien knew John as a fellow reggae fanatic, and he let her use PiL's studio down time to cut "Launderette", a song she had improvised over a bass line by Aswad's George "Levi" Oban. Bass is also the foundation of the angry anthem "Private Armies", a favorite of Rock Against Racism, here available in its long album version. "Girls love bass," Goldman says. "It's the yang to our yin. Women really respond to the depth and grounding of bass." Limited one-off pressing of 500.
PRICE: $10.00
First 7" release with two exclusive tracks by newcomers Johnny Tramuntana from Perpignan (France). Children of the infamous Perpignan garage rock n' roll movement, Johnny Tramuntana add surf and French pop to their striking formula to make their listeners smile and dance. Limited one-off pressing of 100.
PRICE: $23.50
VA Modern Jazz Dance Classics Volume Two: Compiled by Jeff The Fish 2LP
Following on from the acclaimed Modern Jazz Dance Classics Volume One compilation (STAUB 148LP, 2019), Staubgold announce the arrival of Volume Two. Again, selected by MJDC's very own Jeff The Fish, here is another collection of contemporary club jazz which will please jazz DJs everywhere. The collection is eclectic and includes artists from the world over, from the Netherlands (Marutyri), France (Electrophazz and Pj5), the UK (Wild Card), Catalonia (Carxofa), Japan (Fox Capture Plan and Yusuke Shima), the US (Niki Haris, Brian Charette, Mario Cruz, and Nicole Banks), Germany (Markpaulnorton), Finland (Nina May), and Azerbaijan (Shahin Novrasli). A bit about how these MJDC compilations came about: For some time now on the continual hunt for new DJ material to play in the jazz scene, Jeff The Fish has been coming across great tracks by current artists that are often only available on digital or CD format, and we aim to compile and press this music onto vinyl so that DJs can play them in jazz sessions. Following a discussion between DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, Staubgold created the new sub label MJDC to do this. And here is the second volume of contemporary club jazz which will inject new music into the jazz dance scene.
PRICE: $15.50
CAT #: SUC 034CS
HAIR & TREASURE Two Fucking Tapes 2xCassette
Brand new 70-minute blast from the Hair & Treasure crew pressed a double dung casing for your listening (dis)pleasure. Recorded between 2017-2019 into Uncle Eddie's VHS player, magik happens inside the Archers boudoir. In the band's own words: "A clumsy wife with a tricky nose wants to feel deserving of her husband and a former male beauty pageant winner wants his out-of-place arm implants revised or removed. Rating 6.2".
PRICE: $11.00
CAT #: SUC 037CS
PROPHETAS Maury Island Reverie Cassette
Having recently retired from his most prolific moniker Gonzo, Gonçalo F Cardoso keeps busy and plowing ahead into an ominous 2020 with the second tape from his new concept: Prophetas. Inspired by visionary/paranoid cult figures, modern/new idiosyncratic figures as symbols of hope/despair for the uncertain times of the new decade. Where the first tape compilation -- Reveal, Accept, Remember, Forget (SUC 027CS, 2020) -- revived mid-50s ideas (UFO sightings, suburbia, space race), this new work reshuffles the now established paranoia to new heights by positioning itself in early '90s disillusionment: mall culture, X-Files, rampant consumerism, and late night cable TV. The new past/present memories finally laying the groundwork for the ubiquitous fake prophets of the 21st century: Silicon Valley types, Apple, Google, Facebook -- the new cults -- all filtered through an overused '90s fragmented lens. "History is the price we pay for progress. If the future should ever come to stay again, it will only be to haunt us" --Ken Hollings, Welcome to Mars (2008)
PRICE: $11.00
CAT #: SUC 038CS
VA Seleccioon Magnetica 1982/1996 Cassette
Late 20th Century outsider music from the outskirts of Buenos Aires featuring Alan Courtis, Pablo Reche, Quum, and many more artists from the Argentinian underground. Setting out as an archaeological excavation, literally exhuming material which has been under the surface for more than two decades, this special compilation features work by established and under the radar artists that helped set the now fertile Argentinian underground. All tracks were directly digitized from the original cassette masters (half of them never previously released either). The emphasis being to maintain the original sound quality as it was produced at the time (hence the cassette format). The compilation also showcases a broad-spectrum style of music that was done at a specific time with very primitive gear -- not by choice but because of the obvious economic restrictions of accessing sophisticated equipment forced these musicians on the DIY road. Domestic tape recorders making cassette loops, broken record players, toy keyboards, and the noisy "fingers on circuitry" long before Nicolas Collins championed it on Handmade Electronic Music (2006). Whilst some artists actually had access to professional synths and drum machines (UnoxUno, Quum, Jaime Genovart), they still lacked of standard recording equipment. A crucial document then showing how their unique approach to music making influenced the forthcoming experimental scene of South America making these artists influential cult figures of the underground. Compiled by Juan José Calarco and Pablo Reche. Digitized and mastered by Juan José Calarco. Also features Alfredo Horacio Pérez, Luis Marte, Conducto, Esófago Zombie, Las Cintas Magnéticas, Zigo, La Espora Invasora, and Francisco Ali-Brouchoud.
PRICE: $11.00
DJ MARCELLE 10x3x1 Cassette
Live three turntables mix using all Discrepant, Souk, and Farsa Discos records between 2010-2020. Mixed, selected, and recorded by DJ Marcelle/Another Nice Mess. Edition of 150; no digital.
PRICE: $22.00
OKKO Sitar & Electronics LP
Reissue. Released in 1971 by Okko Bekker, a Dutch sitar player, keyboardist, and producer who has worked with the likes of Brian Eno, Conny Plank, Asmus Tietchens, and Moebius. As the title suggests this is a sitar and synthesizer led trip through six groovy and jazzy originals and two covers. Featuring help from the jazz legend Herb Geller on flute, Sitar & Electronics is a funky and rare piece of European exotica finally available again on LP.
LSD 69008LP
PRICE: $22.00
CAT #: LSD 69008LP
VA I'm Burning... I'm Burning...: Rembetika Gems from the Greek Underground LP
Songs from the Greek Underground 1925-1940. This compilation features some great examples of rebetika songs from the '20s and '30s including some well-known artists like Rosa Eskenazi, Markos Vamvakaris, Anestis Delias, Rita Abadzi, and others. An excellent overview of the phenomenon for anyone interested in southern European folk music history. Also features K. Kostis, Yiorgos Kavouras, Adonis Kalivopoulos, El. Melemenlis, Michailis Yentsaris, A. Kostis, Marika Politissa, Apostolos Hadzichristos, and Stellakis Perpiniadis.
PRICE: $25.00
CAT #: TEC 025LP
PINCH Reality Tunnels 2LP
Repressed; double LP version. Include one vinyl-only track. Influential Bristol figurehead Rob Ellis, AKA Pinch, releases his first solo album in 13 years, via his own label, Tectonic. Reality Tunnels is a concept that was originally introduced by Robert Anton Wilson in his 1983 book Prometheus Rising. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective -- the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not. At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi-fi on this boldly distinct sonic statement. It sees him flexing years of production skills -- but unconventionally so -- knowing well that safe predictability and rounded polish don't get the most interesting results. Dark trip hop Bristolia segues into blistering jungle on album opener "Entangled Particles", before planet-hopping onto the spiky insidious grime-step of "All Man Got", featuring the rugged rasp of OG warhorse Trim. Beginning a triptych of future techno, "Accelerated Culture" offers the album's most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler "Returnity", before "Finding Space" reaches to the cosmos' far-flung, glowing outlands. Back to an urban reality is "Party", where a subtly menacing sense of dread is ignited by Killa P's incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, "Back To Beyond" is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre's masters. Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual "Change Is A Must", and on "Non-Terrestrial Forms" an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fueled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up. Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack's Mezzanine (1998) and Tricky's Maxinquaye (1995) -- found here in the scorched, smoky rocker "The Last One". Also features Emika and Nive Nielsen.
WIRE 439
PRICE: $10.00
CAT #: WIRE 439
WIRE, THE #439 September 2020 MAG
"Mourning [A] BLKstar: We meet the Cleveland Afrofuturist collective that is channelling the spirit of James Baldwin to forge new songs for the Black diaspora on recent album The Cycle and single 'Juneteenth'; Bunita Marcus: The Brooklyn pianist and composer reflects on six decades in new music and her influence on Morton Feldman as her Lecture For Jo Kondo receives a new recording. Lao Dan: The former member of post-punk unit Red Scarf talks about blazing a trail for free music in China, staging site-specific performances in caves and multitasking across saxophone, flute, dulcimer and more; Invisible Jukebox - Tricky: Bristol's finest sits down with The Wire's mystery record collection in his current base of Berlin."
TDP 54034LP
PRICE: $19.50
CAT #: TDP 54034LP
GILBERTO, ASTRUD That Girl From Ipanema LP
Trading Places present a reissue of Astrud Gilberto's That Girl From Ipanema, originally released in 1977. The daughter of a Brazilian mother and German father, Astrud Gilberto achieved international prominence with "The Girl From Ipanema," an inauspicious debut recorded for the landmark album her husband, Joao Gilberto, created with Stan Getz in 1963. Moving to the USA, where she was subsequently based, she continued her solo career and also toured with Getz, with whom she later began a relationship. Over-the-top classic That Girl From Ipanema allowed her to revisit the hit in the sweeping high-fidelity full-spectrum setting of a disco big-band, the album overseen by MFSB and Salsoul mainstay, Vince Montana. Along with individual takes of Cole Porter's "Love For Sale" and Harry Nilsson's "The Puppy Song," original "Far Away" benefits from the understated trumpet of Chet Baker, but the album ultimately revels in all things disco, the Brazilian element coming courtesy of percussionist Dom Um Romao on select tracks. Crank up the volume and tune in to the brass, piano, and percussion that percolates under Astrud's characteristically soft and sultry vocals to fully experience this underrated gem.
TDP 54035LP
PRICE: $19.50
CAT #: TDP 54035LP
TEAR GAS Piggy Go Getter LP
Trading Places present a reissue of Tear Gas's Piggy Go Getter, originally released in 1970. Glaswegian boogie rockers Tear Gas grew out of a band called Mustard, featuring former Poets vocalist Andy Mulvey and future Squeeze drummer Gilson Lavis, with guitarist Zal Cleminson, bassist Chris Glen, and keyboardist Eddie Campbell; Mulvey was replaced by David Batchelor and Lavis by Wullie Munro, who had played in Mandrake Root with Ritchie Blackmore. Debut album Piggy Go Getter, released on Paramount's Famous subsidiary, was a blend of hard boogie rock with psychedelic prog-rock leanings, the spaced-out hippie aspects heard most plainly on tracks like "Night Girl" and "Nothing Can Change Your Mind," a direct contrast to the blues underpinning of "Lost Awakening" and "Witches Come Today." The album made little impact on release, leading to further line-up changes and an eventual shift to the core members taking their places in The Incredible Alex Harvey Band, with Batchelor taking on the role of producer and arranger; he would also work with Nazareth, Skidz, Dr Feelgood, and many others, including Oasis in later years, while Cleminson joined Nazareth and later played with Elkie Brooks and Midge Ure. Gatefold sleeve.
TDP 54036LP
PRICE: $23.00
CAT #: TDP 54036LP
OSIBISA Black Magic Night 2LP
Trading Places present a reissue of Osibisa's Black Magic Night, originally released in 1977. Esteemed Afro-rock fusion band and world music pioneers Osibisa have enjoyed a long reign, with unwavering popularity, despite numerous line-up changes. Saxophonist Teddy Osei, drummer Sol Amarfio, and flautists Mamon Shareef and Farhan Freere had all been in the highlife band The Star Gazers in Ghana, and were joined by Osei's trumpeter brother, Mac Tontoh, in spin-off group, The Comets; after moving the London in the early 1960s, Osei formed short-lived fusion band, Cat's Paw, and after convincing Tontoh and Amarfio to join him in London, Osibisa was formed with the Antiguan guitarist and vocalist, Wednell Richardson, Grenadian bassist Spartacus R, Nigerian percussionist Loughty Lasisi Amao, and Trinidadian keyboardist, Robert Bailey; a contract with Mercury brought greater exposure. Always strong in live performance, this excellent double-LP set was captured at London's Royal Festival Hall in 1977, with the group delivering spot-on renditions of their best-known works, from the extended opening invocation of "The Dawn" to the irresistible grooves of "Welcome Home" and "Sunshine Day." Gatefold sleeve.
TDP 54037LP
PRICE: $19.50
CAT #: TDP 54037LP
Trading Places present a reissue of Catapilla's Changes, originally released in 1972. Jazz-infused prog-rock act Catapilla began in London in 1970, with saxophonists Robert Calvert and Hugh Eaglestone, bassist Dave Taylor (of pop act Edison Lighthouse), drummer Malcolm Frith, guitarist Graham Wilson, and expressive clarinet player, Thierry Rheinhardt; vocalist Jo Meek was quickly replaced by her sister, Anna, whose gutsy gasps gave the band its noteworthy difference, along with the woodwinds and brass. Former Millionaires' bassist Cliff Cooper brought the group to the attention of Black Sabbath's manager, Patrick Meehan, who got them a contract with Vertigo; like their self-titled debut, second LP Changes has four freaky tracks, but here the band is completely reborn, with bassist Carl Wassard, drummer Brian Hanson, and keyboardist Ralph Rolinson backing Rheinhardt and Meek. Throughout, Rheinhardt's searing sax blows a musical foil to Meek's mercurial vocal moods, drifting between atmospheric interludes and brooding bursts on "Reflections," while "Charing Cross" gets its point across by subjecting Meek's fragmented vocals to heavy delay. A super esoteric and ultra-rare relic from the stranger end of prog. Die-cut sleeve with flap; gatefold sleeve.
TDP 54038LP
PRICE: $19.50
CAT #: TDP 54038LP
Trading Places present reissue of Ultrafunk's Meat Heat, originally released in 1977. Anonymous British funk band Ultrafunk was spearheaded by Blues & Soul magazine proprietor John Abbey, who ran a record shop and label called Contempo during the 1970s; he conceived of the group as the UK counterpart to US studio bands, like MFSB. Arranger Gerry Shury, who had worked with Barry White and Maurice Gibb of the Bee Gees, drafted guitarist Chris Rae and bassist Frank McDonald (who often composed library music together) and future Rubettes drummer, John Richardson. A lack of band photos, suggestive song titles and a predilection for American cover tunes led many to believe the band was US-based. Second LP, Meat Heat, shows the group at the peak of their powers, with five choice hard funk instrumentals, including a tasteful synth-led adaptation of Stevie Wonders's "I Wish" (beautifully arranged by session guitarist Gordon Hunte, who had worked with Osibisa and Rebob Kwaku Baa), while their take on Norman Whitefield's "Sunrise," from the Car Wash soundtrack (1976), is exceptionally rendered. Sadly, Shury's death in a car crash would soon squash the group, leaving Meat Heat the best reminder of their musical talents.
PRICE: $25.50
HAPPY DEAD MAN Vines Grow Between My Eyes LP
W.David Oliphant, well known for his visionary work with industrial outfit Maybe Mental, dark ambient ritual group Life Garden, his huge solo-output, and various collaborations with the Bishop brothers, Michael Pistrui (Fat Gray Cat), and Alan Bishop (Sun City Girls, Dwarfs Of East Agouza, Invisible Hands, Clandestine Quartet) came together in Arizona in February 2020 to record an album in two days. Nobody could guess that it would land this far beyond expectations. Prepared computer (W.David Oliphant) and acoustic guitar (Alan Bishop) are the only instruments used, together with the charismatic voice of Alan Bishop, and featuring the vocal talents of Michael Pistrui. The result is a one-of-a-kind album, impossible to categorize, warlock cabaret, absurd and macabre, directly from the darkrooms of the mind. Morbid flowers, Vaudevillian cinema, psychedelic wastelands, the cross between Sun City Girls and Einstürzende Neubauten. While the lyrics immediately burn images into the listeners brain, the electronic/acoustic sound varies between western/non-western Industrial Folk. The Blixa Bargeld-ish "I Civilized You", the title giving "Dead Gardens" and the fake-Eastern influenced "A Memory" through which the spirit of the Sun City Girls seems to float, are centerpieces of the album. Pure magic witchcraft, never rock. A soundtrack for the darkest film noir you've never watched. Vines Grow Between My Eyes will be released in a deluxe gatefold cover, with all lyrics printed on the inside. One-time pressing.
PRICE: $25.50
CAT #: UMA 138LP
MASONNA All Live Recording At My Room LP
Urashima present a reissue of Masonna's All Live Recording At My Room, originally released in 1989. Cascades of electronic noise, a psychedelic touch and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in "Japanoise" scene. Predating the era of digital domination, there was a time where artist-run labels putting out primarily, if not exclusively, tapes were legion. Masonna's abundant productions on his own legendary and astonishing label were presented in very limited edition, sometime totally confidential (one sole copy), and reflect his predilection for '60s psychedelic music revisited in its own very peculiar way. Maso Yamazaki transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts became clipped bursts of overloaded sound, doubled and extended by a delay that displaced the sounds into stuttered blasts of static. These vocal sounds fuse into a rattling background of harsh metallic fuzz, which was created by frantically shaking a highly amplified box filled with coins. All Live Recording At My Room have been released in 1989 on Coquette, and now return for the first time in astonishing vinyl format fully remastered. The tracks were recorded live, at home, with no mixing and no overdubs. The album is full of very rough harsh noise that's mostly made up of lots of distorted screaming. This early work is very loud, noisy, and has lots of angry energy. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Divided into two parts of fifteen minutes each that focuses an electrically overcharged universe, punctuating the electric and vocal sonorous power with some quite moments and brief interruptions, conferring a very particular dynamic to these tracks. Controlled, gorgeous, and absolutely intense, encountered with distance, Masonna's stunning All Live Recording At My Room stands with the absolute best of its era, and outsteps a great deal more. Chaos and noise, while direct and at ease with its own voice, it's nearly impossible to not fall in love with this record once heard. Masonna is an emblematic figure of Japanoise, who shines by a personal approach and an immediately recognizable style. 140 gram vinyl with full color label and sleeve; edition of 199.
PRICE: $25.50
CAT #: UMA 140LP
Exterminate, the most impressive and sinister album by Atrax Morgue first way -- it is just the thirteenth work in his name, during his first three years of artistic production, returns to torture the eardrums and brains of who comes across with his industrial, claustrophobic and distressing nightmares at least as much as the "annual reports" signed by the loving Throbbing Gristle. It was recorded straight off on a hot July night in 1995. The cassette released the same year by Slaughter Productions contains three tracks based on typical analog drones. A three-phase escalation of alienating noisy madness, made of battered analog synthesizers and occasional incursions of revolting and decaying screams, which in no way allows you to see even the lightest light, in total surrounding darkness. New mastering in 2020 by Andrea Marutti. 140 gram vinyl with inside-out printing sleeve; edition of 199.
PRICE: $25.50
CAT #: UMA 141LP
ATRAX MORGUE Esthetik Of A Corpse LP
The sadistic industrial spurts of Atrax Morgue, are secretions of body fluids converted into noise stinging and nauseous and his work is an unhealthy, stinking container, with most depraved delusions that the human brain can give birth. The fourteen splinters of Esthetik Of A Corpse were recorded in spring 1995 and released on tape by Slaughter Productions. A quick overview of the 50-minute tape: harsh electronics, sounds from obsessions and visions, death as sex, madness, pleasure, orgasm, cadavers, and plastic bags. Of course, the canvass is freshly skinned off the body of one of the victims, and Marco makes much use of the entrails in his creation. New mastering in 2020 by Andrea Marutti. 140 gram vinyl with inside-out printing sleeve; Edition of 199.
PRICE: $25.50
CAT #: UMA 142LP
Atrax Morgue has been one of the very few names to inherit the sound and annihilating effect of the power electronics school of the early 1980s. He remains faithful to visceral (anti)sounds, no structural enrichment, no attempt to improve: the skeleton of nothing, the absolute point of no return, the representation of non-being, the apology of learning, the most total desert. Overcome comes out for the first time on vinyl by Slaughter Productions in 1999. A raw album that reflects the most total cancellation not only in theoretical purposes, but is also a global clean slate in repeated, obsessive, distorted, monolithic sounds; Atrax Morgue's music curves in on itself, becoming non-sound and denying any possibility of its own existence. Disturbing and minimal, the album flows with total resignation for all seven tracks, without granting minimum penalty discounts to those who approach it. Mastered in 2020 by Andrea Marutti. 140 gram vinyl with inside-out printing; gatefold sleeve; edition of 199.
PRICE: $64.00
K2 Burst After Burst 6CD BOX
K2 is the personal noise project by Kimihide Kusafuka, originally came onto the scene in 1981, in order to explore the possibility of noise. Along with Hijokaidan, Merzbow, and Incapacitants is one of the most notorious and seminal Japanese noise artists. Widely known in the community as the king of metal junk his work consists in amazing assemblage of crashing, creaking, and scraping sounds made with pieces of junk metal plus concrete music and voice, edited in a jarring, unpredictable style and often accompanied by the sounds of MTR, Monotron, and other analog electronics. On the other hand, he is also a surgical pathologist and has been writing many medical papers, especially about salivary gland tumors. K2 perceives no alteration between the act of making noise and the act of science and he practices a kind of alchemy through his noise. He sets one's sights of metamorphosize himself with both the awareness he gets from his scientific experiments and the emotional strength he obtains from performing and listening to noise. Kusafuka also ran his own record label from initial period of his activity and released a lot of amazing and terrific tapes. Burst After Burst collects the recordings of six cassettes made over six years and all released during the first part of '90s on Kinky Music Institute label, apart from Destruction For Model Citizens released on Self Abuse Records (1996). The tapes reissued are Materia Informis (1998), Autopsy Soundtrakks (1993), Souls Are Kontroled By Molekules (1993), De Novo (1994), Rusty Tongue (1996), and the previously revealed Destruction For Model Citizens. All audio was taken directly from the original DAT masters held by the artist and released in six CD wallet, with artwork got from original tapes cover and tailored for wallet, enclosed in an elegant blue wooden box with laser engraving on the top (with artist and title lettering) and inside (with Kinky Music Institute pussycat logo). Box include an A4 size foldable from original '90s era made by K2 and a numbered certificate in 300 copies.
PRICE: $87.00
Marco Corbelli's artistic journey began in the early '90s. Under the pseudonym of Marco Rotula, he started to release a series of fanzines in A5 format. The first was The Pleasure Agony, followed by Sick and Murders. The aesthetics of these first fanzines were very sophisticated and the content deals with topics that will follow Marco Corbelli throughout his artistic career: sadism, schizophrenia, insanity, murder, psychosis, necrophilia, diseases, and most importantly death. In 1993, heavily influenced by his obsessions, Marco Corbelli began his musical activities creating the Slaughter Productions label and the Atrax Morgue project. Atrax Morgue released his first tape In search of death which will be followed by a series of amazing cassettes in the following years. Tape after tape, with the help of an analog synthesizer Sequential Circuits Six-Trak, a microphone connected with a Yamaha multi-effect, tape decks and a mixer, Marco Corbelli blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviation. The main manifesto of Atrax Morgue is the analysis of the death, his perfection and complete habituation: injections of death to continue to live. The putrescence is palpable, and one could almost smell and taste the miasma of decay that pervades the entire box. Anxiety, alienation, and hypochondria turn into a deep paranoia in pain. The psychopathological sound is white, painful and horrific; creates a mental alteration that initiates brutal operation of psychic surgery, neuroses, and split personality. Crosses terrifying rooms lit by neon lights, corridors filled with gruesome tools, machines of blood and bits of human tissue floating in jars of formalin. The hum of the synth, the roar of noise and fights razor are often repeated loops, where each track has a compact structure, following the main theme (of death). Urashima presents an astonishing silver wooden box with nine CDs that include reissues of twenty terrific titles from his legendary discography. Includes A4 size foldable with original 1998 Slaughter Productions mailorder catalog cover; edition of 184.Includes Necro-sintesi (1993), Necrophiliac Experience (1994), Basic Autopsy Procedure (1995), New York Ripper (1994), Black Slaughter (1993), Lesion 22 (1996), Spasmosynthetics (1997), Cut My Throat (1996), Homicidal Texture (1995), In Search Of Death (1993), Exterminate (1995), Esthetik Of A Corpse (1995), Catch My Agony (1995), Collection In Formaldeide (1994), Mechanic Asphyxia (1997), Death-Orgasm Connector (2003), Sweetly (1996), Woundfucker (1994), Homicidal (1997), and An Expression Of Psychic Masochism (1995).
V 2010LP
PRICE: $20.00
CAT #: V 2010LP
ROY, KALYANI The Virtuoso Of Sitar Vol. 1 LP
Restocked. First vinyl reissue of this Indian classical masterpiece recorded by Shrimati Kalyani Roy in the late 1960s. Undoubtedly one of the most talented sitar players in the history of the instrument. She is considered as one the finest female players in a field that was dominated by her male counterparts. On these recordings, a two-volume set, she is accompanied by Manick Das (tabla) and Namita Chatterjee (tambura). Recorded in Japan on September 20th, 1974. Vol. 1 and Vol. 2 (V 2011LP) come as two separate LPs.
VF 009LP
PRICE: $20.00
CAT #: VF 009LP
USUAH, MARY AFI Ekpenyong Abasi LP
2020 restock; LP version. A stupendous blend of scintillating highlife, smoking Fela, and spaced-out, funkdafied black jazz, from 1975, reissued for the first time. Mari Affiong Usuah from Oron, by way of Calabar, in southeastern Nigeria, fronting a knockout band led by Daniel "Satch" Asuquo from the Atomic 8 (and formerly of Bobby Benson's orchestra). The Afrofunk cuts are especially killer -- with James Brown just percolating through by the end -- but it's a stunning, magnificent album, through and through. Beautifully sleeved, too, with excellent notes by Uchenna from Comb & Razor.
PRICE: $31.00
2020 repress; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.
PRICE: $31.00
YANO, AKIKO Iroha Ni Konpeitou LP
2020 repress; LP version. Obi strip; Includes insert. Wewantsounds present a reissue of Akiko Yano's Iroha Ni Konpeitou, originally released in 1977. Another superb Akiko Yano album and one of her funkiest, highlighting her singing and songwriting talents. Iroha Ni Konpeitou is perhaps Akiko Yano's best-known album in the Western world not just because of its striking front cover -- a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin. A slick mix of Japanese pop and New York funk, the album was recorded in Tokyo except for the title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee, and Nicky Marrero. For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar, to name just a few. Interestingly, two Hosono compositions are featured on the album: "Ai Ai Gasa" which he recorded on his 1973 landmark debut Hosono House and "Hourou" originally recorded in '75 by singer and musician Chu Kosaka, on the eponymous album Horo. Last but not least, Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, and Yamaha CP7C. Matsutake would soon become programmer in chief for Yellow Magic Orchestra, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction "KAWAJI", a short electro fantasy, or on such tracks as "Ai Ai Gasa" and "Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song. "Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography. Remastered sound. First release outside of Japan.
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