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Forced Exposure New Releases for the Week of 10/19/2020

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New music is due from Croatian Amor, KMRU, and Thurston Moore, while old music is due from loscil, Nurse With Wound, and The Residents.

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PRICE: $23.50
ROLLING STONES, THE Live At The Oakland Coliseum 1969 LP
This LP contains soundboard recordings of the Rolling Stones' live performance in Oakland, California at the start of their ground breaking November 1969 trek across North America. Subsequently broadcast on Radio KSAN at the behest of Bill Graham, these nine tracks demonstrate why on this tour the Stones were introduced as "the greatest rock n' roll band in the world." Four of these songs -- "Prodigal Son", "You Gotta Move", "Gimme Shelter", and "Satisfaction" -- were not included on the Get Yer Ya-Ya's Out! LP (1970), recorded later on the tour in New York and Baltimore.
AF 018LP
PRICE: $30.50
CAT #: AF 018LP
POWELL Flash Across The Intervals LP
Flash Across The Intervals is the first new Powell LP since 2016's Sport on XL Recordings, and the first music available physically since his 2018 collaboration with Turner-Prize winning artist Wolfgang Tillmans. Oscar (Powell) wanted it known that this is not intended as a definitive album, the realization/release of some bold new statement, a singular mark of identity or triumphant elucidation of years of valiant work. Rather, it is simply 35 minutes of music segmented from an overall flow of stuff, a variable torrent of hyper-synthetic composition brought about by entirely other things -- circumstances that relate in no way to a previous life led within an occasionally toxic bubble of taste, music, entertainment, and "community". As René Char once wrote, "No bird has the heart to sing in a thicket of questions," and so it is that we can become bereft of courage, stripped of any enduring connection to our work, dissociated from many of the fragile and reactionary structures that previously held us up. When the illusion of reality dissolves around you, how can you not think as Leibniz once did: "We thought we had arrived at port, but found ourselves thrown back out on the open sea." It is easy to be molded by a contemporary space that leaves you with no possibility of creating anything at all; in a kind of zero state of expression that inevitably forces you to look elsewhere ? to pursue a Deleuzian line of escape out towards a horizon line that never draws closer. Here, at least, out on the waves, new cartographies can be traced and new connections formed. This "album" thus functions as a message in a bottle: cast from unknown coordinates, it maps some of these connections, not least in its close relationship with the visual work of Michael Amstad and Marte Eknæs ( Their imagery inflates this sleeve; the music inflates their films. What emerges from the fog is a luminous three-headed constellation of melodic lines in non-sensical interplay with one another. Here on record, spinning at a speed of your choosing and with eyes closed and no imagery to hand, the feeling persists of a deep decentering, music discontinuously carbonated by a different geography of relations, the depths of which this music begins to explore. Includes double-sided, four-panel printed insert; edition of 250.
AX 091LP
PRICE: $23.00
CAT #: AX 091LP
"The overall goal was to create something that bared the traits and signs that would catch the attention of a music lover. Someone that has danced themselves into a relationship with music that is unconditional and undeniable." --Jeff MillsByron The Aquarius is no stranger to true music fans. In January 2020 he gathered his friend musicians in Atlanta for a session of a few days at Patchwerk Studios under Jeff Mills's supervision. The result is a fantastic mix between soulful house and jazz music with a touch of blues. When Byron The Aquarius talks about live frequencies, his enthusiasm is infectious. A keys player by trade, one can detect echoes of the likes of Keith Jarrett, Jan Hammer, and Herbie Hancock. With a tinge of pitch bend and the early release of words, you can hear the rhythm in the way he speaks. This might be a common trait coming from one who lives in Birmingham, Alabama and has been greatly educated on jazz by his grandfather. In his music, he reminds the listener how precious the single note can be again and this makes the attraction to his music irresistible. Proudly put, his music does wait for anyone's approval and this is exactly what makes this man and what he creates so unique. Byron's love for melody and harmony has consistently drawn the attention of electronic music's leading labels and producers and he's worked along with some of the best. In 2015, Byron released a ten-track solo album on BBE entitled Planets of Love. When he wasn't working on his own music, he was playing keys in the studio with Atlanta-based house DJ/artist Kai Alce. These creations soon fell upon the radar of the Detroit maestro Theo Parrish, who loved the sound of his sublime jazz-infected house and selected two tracks to release on his legendary Sound Signature label in 2016. The resulting Highlife EP has been hailed nothing less than "stunning", "intoxicating", and "essential." In the years since, Byron has released a consistently high level of music on Wild Oats, Eglo Records, and more. He has toured the planet playing festivals such as Dimensions, Dekmantel, Suncebeat, Lente Kabinet, All Points East, and many more as well as a plethora of the world's best clubs. Despite the limitation brought on by the pandemic, 2020 has been a busy one for Byron.
PRICE: $30.50
CAT #: BFE 059LP
Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesizers, guitar, and hand percussion much of which was then treated through the synthesizers, producing their soft, insistent and rhythmic sound. Dog Photos was originally released in 1981 by band's own label Adhesive records. The sounds in these 11 pieces are a combination of direct to tape and cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings, and foreground rhythm abstractions. For fans of: Chris & Cosey, Dome, Cabaret Voltaire, Coil. Engineered by David Chesworth. Remastered at Plataforma Continental by José Guerrero.
PRICE: $10.00
DEAD C, THE Unknowns CD
"Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
PRICE: $10.00
"Drawing the connections between Wendy Eisenberg's releases feels like undertaking a wide-ranging investigation. Albums of wildly inventive guitar, tempo-shifting avant rock and curiously leftfield pop fit together as offerings of Eisenberg's curious mind. On Auto, their most innovative and inner-reaching album yet, Eisenberg explores emotional, subjective truth, and how it interacts with an objectivity no person alone can grasp. Inspired by the solo work of Mark Hollis (Talk Talk) and David Sylvian's Blemish, with playing skills that have already seen them climbing Best Guitarist lists and an unvarnished vocal immediacy, Wendy Eisenberg has created an album of subtle display that resonates with maximal impact. Auto has multiple meanings. First, automobile: 'A lot of these songs were written about and mentally take place when I'm in the car on my way to gigs,' says Eisenberg. Immediate melodies came to them on these trips, to which they'd later add complex guitar parts. And automata: 'I make myself into a machine, which is why everything that's played is precise.' Finally, they frame their work in the literary technique of auto-fiction, 'the semi-fictionalized presentation of the self in a narrative form of growth,' as Eisenberg sees it. The album served as a means toward working through emotional conflicts from adolescent trauma and PTSD, and dissects the dissolution and conflict that led towards the breakup of their former band. With much of it written while its events played out, Auto faces the grief of losing what one thinks is their future while experiencing a dramatic reshaping of their past; it delves openly into the limited nature of one person's narrative. After making a few efforts to record Auto, Eisenberg ultimately chose to collaborate with childhood friend Nick Zanca, who contributes electronic elements and production. Mirroring the personal and organic offered by Eisenberg, synthetic sounds form a kind of boundary or context for everything. They 'sound like commentary on songs that were written from an organic or subjective perspective,' says Eisenberg. Their place on the album is integral for Eisenberg's goal 'to outweigh the subjectivity of normal singer-songwriter guitar songs with the objectivity of electronic sound.'"
BEC 5161908
PRICE: $25.50
CAT #: BEC 5161908
CERRONE Supernature (Cerrone III) (The Official 2014 Edition) LP+CD
2020 repress. Because Music reissues on LP (with bonus CD format added) the 1977 album Supernature by French disco legend Marc Cerrone. Big hits can be the result of a combination of circumstances. Massively popular at the time, crowned with the success of Love in C Minor and Cerrone's Paradise that made him a disco hero of the '70s, the musician started working on his new album differently. This time, the inspiration came from a synthesizer, an instrument he never used before. ARP, an American manufacturer, provided him with it. "I was given this machine and didn't know how to use it," he remembers. "I twiddled a few knobs, trying to get some sounds out of it. Then, as I was playing on the keyboard, a bass line came to me that I immediately recorded on my Revox. It was 'Supernature!'" Lene Lovich, future queen of the punk and new wave English scene, wrote the lyrics. It was a science fiction story, similar in spirit to The Planet of the Apes. Once the track and album were finished, Cerrone asked the record company to focus on "Supernature," rather than the rest of the record, in the vein of his previous work. History would prove him right. This track, the more iconic of his catalog, would turn out to be his biggest hit. This third album (also called Supernature) would also sell eight million copies. Always a funny guy, Cerrone can be seen on the cover of the record, but without naked women. Creatures with animal-heads in a surgery room replaced them. It meant a mutant and more synthetic kind of disco was born. Pressed on pale green vinyl + CD. Includes a 4-page booklet with a 30cm x 30cm poster-booklet with photos and biographic notes.
PRICE: $22.00
CLAP! CLAP! A Thousand Skies 2LP
2017 release. One of Italy's brightest new talents, Clap! Clap! (aka Cristiano Crisci) returns with his second album for Black Acre, following his colorful breakthrough debut LP, Tayi Bebba (ACRE 006LP, 2014). Bringing together disparate inspirations and styles onto the dancefloor of his mind, A Thousand Skies sees Clap! Clap! create a high energy and inventive kaleidoscopic fusion of sound - drawing on the traditional global rhythms of the old world, hip hop, footwork, UK bass and house. Following Tayi Bebba, which soundtracked the tour of an imaginary island, A Thousand Skies is a mix of Crisci's career to date, combining samples and live instrumentation from Clap! Clap! and collaborators such as South African folk singer Bongeziwe Mabandla, John Wizards, HDADD, and OY. As with his debut, the album is anchored by a story - this time of a young girl's journey through the stars - which completes the work. Clap! Clap!'s unique blend of global dance and timeless sounds draws from nature, traditional music, field recordings and the electronic savvy of modern centers like Chicago and London. At its core is the inspiration of everyday life, what Crisci calls "the search for new flavors." The now internationally acclaimed producer and performer started his career age 13 in the mid-90s as a rapper, before picking up the saxophone and performing both jazz standards and jazz/punk fusion with his band Trio Cane. Now, as Clap! Clap!, he's taking his energetic live shows across Europe and Japan. Following the release of his debut album in 2013, he has found a fan in Paul Simon who told Rolling Stone the LP is "a masterpiece. He makes music sound new and old at the same time." This led to Crisci to collaborate on the production for 2016's #1 Paul Simon album Stranger To Stranger. With a passion for history and the sounds that surround us, Clap! Clap! is a unique electronic artist capable of both channeling the energy of the moment and the intricacies of creating a music that can soundtrack the dynamics of life. Includes four-page printed "Agata" fable booklet.
PRICE: $12.00
CAT #: BYR 029CD
DISCO VUMBI Disco Vumbi Vol. II CD
Kenyan musician Alai K. returns to his Disco Vumbi moniker for this album, following releases on the acclaimed Nyege Nyege and Hakuna Kulala labels of Kampala. Resident Advisor pitches him as one of their 15 East African artists you need to hear, noting "his exuberant music calls to mind the outdoor parties of 1970s Kenya from which people would return home covered in dust kicked up by furious dancing." Disco Vumbi Vol. II takes inspiration from different genres in music, transporting you to Benga Electro Tribal Dast of East African music. The beat is irresistible -- if you are standing or sitting part of your body will dance. And if you understand Kiswahili you will enjoy the stories of Magongo, where Alai grew up. Guitar by Tobby Imani, percussion on Vimeundwa by Charles Obuya. Photo by Lorenzo and Melissari, artwork by Oliver Bancroft. Mastered by The Sound Mechanic. BTW: this is CD-r format.
PRICE: $47.00
RESIDENTS, THE Cube-E Box: The History Of American Music In 3 E-Z Pieces 7CD
"In the late 1980s The Residents embarked on what many fans still consider their greatest live project. Cube-E: The History Of American Music In 3 E-Z Pieces spanned almost four years and proposed to do nothing less than its title suggested, telling the story of American popular music, from its birth around the campfires of a non-existent Old West to its death at the hands of Elvis and the British Invasion, all in three easy pieces. Performed on TV and on stage around the world between 1987 and 1990, the show saw The Residents fully embrace their loves of elaborate and imaginative staging, the latest in music technology and, of course, The King -- Elvis Aaron Presley. It goes without saying that there was barely a dry seat in the house, and alongside live recordings and contemporaneous studio material this pREServed set includes the previously unreleased demos for the entire King & Eye album, which saw the group tackle twenty-something (you can count 'em!) of Mr. Swivel Hips' hottest hits. Spread across an inescapably unwieldy 7CDs at the group's insistence, Cube-E pREServed is the final word in Americana cool. Or so it says here! Remastered, expanded, and pREServed for future generations, this is the latest in a series of archival Residents reissues that will continue throughout 2020 and beyond. Look out for 'Freak Show' and 'Gingerbread Man' sets, coming to a record store near you!"
PRICE: $18.00
CAT #: RED 223C-LP
2020 repress. 180 gram vinyl. A tight, atmospheric, and pretty damn funky soundtrack composed by the maestro Ennio Morricone for the 1970 crime-drama Città violenta (released in the USA as The Family in 1973), starring the mighty Charles Bronson and directed by Sergio Sollima. Another hard-hitting score by Morricone with quite a dark mood, flowing from the dramatic to psychedelic along with a touch of funkiness. The famous "Città violenta" track, the score's main theme, is celebrated as one of Morricone's most iconic themes. This is the first vinyl release of the complete edition. Green vinyl.
PRICE: $10.00
CAT #: RED 310LP
Last copies, reduced pricing. Dagored present the first ever reissue of Alessandro Alessandroni's Barocco & Romantico, originally released in 1980 by the legendary Flower label. Barocco & Romantico is another wonderful and almost unknown gem from maestro Alessandro Alessandroni. Great cinematic atmospheres in a selection of fantastic mellow tunes inspired by ancient melodies. Pink vinyl; Edition of 500.
PRICE: $14.00
CAT #: DLS 010CD
This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish", the ?rst single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group's tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months "with respect to the sacred healing truth of nature." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release By The Fire in 2020, and with Daydream Library, has released this quote: By The Fire is music in ?ames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on ?re. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as ?ames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace -- songs in the heat of the moment.
PRICE: $21.00
CAT #: DLS 010CS
MOORE, THURSTON By The Fire Cassette
Cassette version. This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish", the ?rst single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group's tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months "with respect to the sacred healing truth of nature." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release By The Fire in 2020, and with Daydream Library, has released this quote: By The Fire is music in ?ames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on ?re. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as ?ames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace -- songs in the heat of the moment.
PRICE: $26.50
NURSE WITH WOUND To The Quiet Men From A Tiny Girl LP
Long awaited vinyl reissue of Nurse With Wound's classic second album, To The Quiet Men From A Tiny Girl, originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and also has a replica of the Steven Stapleton designed insert. Yellow vinyl version.
PRICE: $26.50
Long awaited vinyl reissue of Nurse With Wound's classic third album, Merzbild Schwet, originally released in 1980. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full color insert. Blue vinyl version.
VDE 1432CD
PRICE: $17.50
CAT #: VDE 1432CD
TEH-YUN, TSAR Master Tsar: The Art of the qin 2CD
Mrs Tsar Teh-yun (1905-2007) was not only a poet and calligrapher, but a fervent musician and eminent teacher. She devoted much of her long life to teaching the qin, the antique seven stringed zither, at a time when the heritage of the ancient culture was threatened with extinction in China. This refined, demanding music, seen by the literati as a path to self-awareness, has here been recorded by her pupils in the very place where it was taught, the Yinyin Study, "The room of the unfathomable virtue of the qin." Historical recordings made between 1956 and 1989. Notes by Georges Goormaghtigh. Double-CD with digipack and 56-page booklet.
PRICE: $10.00
CEMENT SHOES A Love Story Of Drugs & Rock & Roll & Drugs 7"
"There's a parallel universe out there somewhere, one where Poison Idea's 'Pick Your King', Gang Green's 'Sold Out' and Negative Approach's 'Tied Down' are sacred texts and all art is merely an attempt to bow down and pay tribute to their holy genius. In this universe, Richmond, VA's Cement Shoes will be truly worshipped as the heroes they deserve to be -- this triple shot of hits is a perfect piece of punk in that lineage. 'Smashed on Glass' opens with a gloriously farty synth replicating the Universal Pictures movie fanfare, setting us up perfectly for the scraped-knuckle joy to follow. It's a two-minute thrill ride of high-speed aggression, bludgeoning guitars and vocals that sound like singer Trevor's larynx has been wrapped up in barbed wire, crushed with a steam roller and then coaxed back to life by vigorous brushing with wire wool. You know, all that fun stuff. It's followed by the brilliantly titled 'Knocked Into The Reptile Enclosure', which continues their sonic assault with gusto as Trev roars into life with a 'bababababa' that sounds like The Trashmen falling into a vat of toxic waste -- perfect for hollering back from beer-drunk mosh pits, or simply for turning up to maximum volume, annihilating all goodwill with your neighbors and earning yourself a tidy warning from The Man. But fuck that guy. By comparison, 'Going Off The Grid' is more restrained, but it's still wild as all hell, pulsating with menace and invention as guitarist Brandon leads the band down a series of dark roads, seemingly blind alleys and secret escape routes. It might just be the best song of the set, but shhh! Don't tell the others. The record is subtitled A Love Story Of Drugs & Rock & Roll & Drugs, which sounds straightforward enough. If you can pierce through the rollicking scree to find that story, you'll be screaming along at the walls for the rest of time. Either way, this is a great piece of old skool hardcore -- perfect for honing that tinnitus you've been working on all these years." --Will Fitzpatrick
PRICE: $31.00
KMRU is the moniker of Joseph Kamaru, a sound artist and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond, he was listed by Resident Advisor as one of "15 East African Artists You Need To Hear" in 2018 and is a regular performer at the fabled Nyege Nyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. An exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound, revered for its ability to cross borders with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient music both captivating through its textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: "Why Are You Here", "Well", "Solace", "Klang", "Insubstantial", and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens. All tracks written and produced by KMRU. Recorded and produced in Rimpa, (Nairobi, KE). Mastered by Stephan Mathieu at Schwebung Mastering, June 2020. Photography: Claudia Mock; Layout/Design: Nik Void.
PRICE: $26.50
CAT #: EPR 061LP
California native Justin Pinkerton, aka Golden Void drummer and the man behind El Paraiso Records' own Futuropaco project, delivers a full-length album of playful synthesizer music. In contrast to a lot of the other projects Justin has been involved in over the years, Aak'Ab radiates slowness and tranquility. There's a rare sense of calm in these pieces. It would, however, be a mistake to categorize it as ambient or new age -- the intricate pattern-work and the raga-like structure of these pieces avoid the usual new age pitfalls, and reveals stronger musical ties to the tradition of American classical minimalism and the electronic side of German kosmische from the 1970s. Stylistically Aak'Ab harkens back to ideas that first materialized in Terry Riley's compositions in the 1960s and early 1970s. It's about patterns that gradually evolve and transform themselves -- much like an organic process unfolding before your ears. The six pieces ebb and flow, and slowly creates a sense of peace and buoyancy in the listener. However, Justin avoids any kind of unnecessary sonic sweetening, instead letting the synthesizers buzz and hum in all their purity. File next to: Terry Riley, Kaitlyn Aurelia Smith, Cluster.
PRICE: $29.00
Restocked; RSD 2020 release. "Originally released in 1982, Pascal Comelade's Sentimientos is one of the most elusive and sought after LPs in the French composer's vast catalogue. Recorded on a two-track Revox machine, the album is an eclectic series of brief pieces -- only two of the twenty tracks exceed four minutes -- showcasing his poetic imagination and impressive range. While much of Comelade's early work hints at many of the major electronic movements to come, Sentimientos remains earthbound and organic. Melodic fragments performed on piano, organ, plastic saxophone, vibes, guitar, toy piano, ukulele and synthesizer place Comelade's boundless creative spirit on display. It is telling that Comelade chooses to cover a Brian Eno tune not from the ambient pioneer's seminal Music For Airports, released just four years earlier, but rather the more traditional 'Taking Tiger Mountain,' here rendered to highlight the song's previously hidden hymn-like qualities. Like fellow countryman Ghédalia Tazartès, there is something distinctly unclassifiable about Comelade's music. Undoubtedly, the two artists share a flair for the mischievous. Sentimientos is an unapologetically whimsical, frequently dizzying and loveably anarchic album of manic energy and radiant mystery -- a perfect introduction to Comelade's singular musical mind. This first-time reissue is limited to 750 numbered copies."
PRICE: $26.50
Repressed; LP version. Eight early songs written and produced by Tase, recorded on 16-track tape machine. Neues Deutschland Studio 2010-2011. Tase is producer Sven Rieger. Co-founder of SUED, Rieger records under aliases SVN and Ixus and in groups such as AU, Département d'Éducation Psychique, Dreesvn, and S.P. Posse.
PRICE: $25.00
CAT #: FKR 044LP
VA Thai? Dai! - The Heavier Side of the Luk Thung Underground LP
2020 restock; originally released in 2011. Fourteen slabs of the heaviest Thai funk and psych rockers ever committed to vinyl. The styles featured on this compilation fall somewhere between luk thung ("song of the countryside") and luk krung ("song of the city"). Bangkok was a melting pot for the evolution of these two genres, the former alluding to musical themes and lyrics aimed at the wider national population and the latter looking westward with a more urban audience in mind. Thai? Dai! collects experiments by both little-known groups and established figures like Plearn Promdan. Even within Thailand the majority of these tunes remain unissued outside of this compilation, making this a truly essential glimpse into the strange underbelly of Thai luk thung in all its unique, original, and outlandish glory; a small snapshot of an otherwise forgotten era, gloriously remastered from the original sources and officially licensed from the original label, Sound of Siam Co. Ltd. Includes performances by Sroeng Santi; Plearn Promdan; Rung Petchburi; Rung Fah Puping; Petch Burapa; Teungjai Bunpraruksa; Riem Daranoi; and Jalwal, Annie & Geerasak.
FD 123CD
PRICE: $14.50
CAT #: FD 123CD
MAP 71 Turn Back Metropolis CD
Map 71 are Lisa Jayne (words, voice, art) and Andy Pyne (drums, sounds, production). Turn Back Metropolis is their fifth album. The record shifts from the hypnotic ascent of the ambitiously minimal title track to the jabbing industrial pulse and social realism of "Stitches". The strutting fantasy mischief of "Siren Tank" leads to the slinky dub vibe and darkly surreal intimacy of "Scissor Kiss Experiment". Then you wake up to another day living the unsettling rhythm of English seaside "Suburbanites". Turn Back Metropolis is as inspired by the dangers and safety in Map 71's habitat as it is by Lisa and Andy's musical influences. The fields are in sight of the city, but there's a curfew and the city waits for you to return.
PRICE: $23.50
CESARIANS Rachel Frieda LP
Call it an "outsider-sound", it's a kind of wrong-rock, or odd-pop, confident and careful, orchestral in parts "this is purposeful modern songwriting at the coalface." Charlie Finke is prophetic and yet naïve. Justine Armatage's emotional orchestral writing unsettles as it piles over the feeling. Formed by Finke (Penthouse) and Armatage (Gretchen-Hoffner), Cesarians have evolved into a compelling seven piece outfit, (piano, violins, cello, guitar, brass, alongside a charismatic tight as f##k rhythm section) a potent live act with years of touring experience including notable support invitations from the widely varied likes of likes of Adam Ant, Lydia Lunch, and Spiritualized. Justine is the committed piano based writer and arranger, with super eclectic influences from Birthday Party to Bowie and Bach to Debussy. Charlie brings a musical ambition of Scott Walker with the realism and suave knowing groove of Ian Dury or The Fall. "We'd as soon as listen (on the tour bus) to Charlie Mingus and Judy Garland as we do to PJ Harvey or Metallica, I think that's completely normal." The writing is as livid in thought as the live experience is performance. Pulled forward by the unknown delirium, at once voodoo and caressing. Where there is certainty let us bring un-certainty. Where there is harmony, may we bring discord. Where there is contentment, let us bring disfunction. Clear vinyl.
PRICE: $15.00
"With Optic Sink, Natalie Hoffmann (NOTS) creates a musical paradox: an endeavor that doesn't really seem to belong to any particular time or place, constructed with sounds that are synthesized and stripped down, yet bristling with urgency and brutalist emotion. The project took shape in 2018, when NOTS were on a break to write and woodshed music for 3, and Hoffmann began experimenting on her four-track recorder. Optic Sink surfaced as a performance soon after, appearing at bars, venues and festivals, including Memphis Concrète and SXSW. Hoffmann drives Optic Sink in live performances and on the selftitled debut album, with percussionist Ben Bauermeister (Magic Kids, Toxie, A55 Conducta) collaborating from the co-pilot's seat. Setting up camp on the post-punk side of the minimal electronic scene, Optic Sink eschew computers for a warmer, decidedly human soundscape. Hoffmann's power, and the tension she generates between human and machine, evokes Maria, the rebellious teacherturned- Maschinenmensch in Fritz Lang's Metropolis, and Ripley, the swaggering, sacrificing heroine of Ridley Scott's Alien franchise. Dadaism and the Bauhaus movement could both be cited as influences; so might the existentialist philosophy of Simone de Beauvoir and the jump-cuts of Maya Deren. Written over a two-year period, the eight songs that comprise Optic Sink sound like they should've been recorded in a bathysphere or on a space station -- instead, they were captured via analog tape at Andrew McCalla's Bunker Audio studio in summer 2019. Bauermeister's inventive aux percussion and drum machine work provides the backdrop, while Hoffmann stokes a proverbial furnace in the foreground, dryly revisiting and repeating words and phrases until they're imbued with portent. Hoffmann's synthesizers add texture with growls and shrieks, often mutating danceable rhythms into shimmering walls of sound. Optic Sink defy categories, shape-shifting from cold wave to psychedelia to distorted noise rock. In the process -- which frequently occurs in a single song -- Optic Sink claim unchartered territory as they cathartically fragment and reassemble sounds, concepts, and verbal constructs. The conflict they define is life in America in 2020, finding beauty in the journey despite what the final resolution might be."
PRICE: $15.00
"To call the Reverend John Wilkins a national treasure would not be an overstatement. He is the son of pre-war blues/folk-revival legend Reverend Robert Wilkins and he leads one of the most exciting and uplifting musical acts on the blues and gospel circuit today. His multiracial, multi-generational band blends soul, southern gospel and hill country rhythm, into a sound that has the infectious drive of hill country blues with the emotional heights of a summer tent revival. Following in the footsteps of his famous father Rev. Robert Wilkins, a blues-singer turned preacher who went from the juke joint to the pulpit, the life of Rev. John Wilkins took a similar path. But in 2020 John Wilkins' life has been closer to a different iconic bible character, Lazarus, as he has miraculously risen after surviving a month-long stay in intensive care battling COVID 19 in a Memphis hospital. As Rev. Wilkins sings on the closing track of Trouble, 'I've come through the storm and rain, I've come through the storm and rain, and I made it!' And there is much to celebrate with this resurrection. Trouble, the aptly named new album, is a confident and joy-filled statement delivering the good-news gospel message unapologetically through music influenced by Ray Charles, Junior Kimbrough, Bill Withers and of course, his father. John Wilkins is one of seven children born in Memphis, TN to Robert Wilkin. The elder Wilkins was a pre-war innovator of the blues before turning to a life of ministry. John Wilkins started performing with his father when he was very young. Like the elder Wilkins, the lure of the blues was a temptation for the emerging guitarist. His musical reputation brought him session work at several of the Memphis legendary studios, including Stax, Royal Studios and Memphis Sound, among others. Wilkins performed and toured with the M&N Gospel Singers through the 1970's, before being called to preach. Since 1983, Wilkins has pastored Hunter's Chapel Missionary Baptist Church just outside Como, Mississippi, the same chapel whose choir recorded a classic album of spirituals with Fred McDowell in 1966. Since retiring from the Memphis Parks Dept. in 2006, Rev. John Wilkins has picked up his music career where he left off 25 years earlier. Trouble is the culmination of everything in Rev. Wilkins's remarkable life, his regional history, and his family music history."
PRICE: $20.00
CAT #: GCR 009LP
Good Company Records awakens from a deep slumber to present two new West Coast dreamscapes, proudly written and recorded on Noongar Boodja (its local country). Up first is the debut LP from Leaving (Rupert Thomas), featuring deep drones and gutsy ambience recorded between 2013 and 2017. Thomas's inimitable wave-scaping is complemented by local photographer Duncan Wright's aerial landscape on the cover, and speaks to the record's special connection to its country -- sound and image forming the perfect package for a cheeky meditation on your morning commute, first brew of the day in hand, or cuddled up somewhere comfy, resonating harmoniously with your beloved. Debut album from Rupert Thomas, stalwart of Perth's experimental scene. Thomas is also one half of Erasers (with partner Rebecca Orchard), with whom he also runs the acclaimed Pouring Dream label.
PRICE: $8.00
MORRICONE, ENNIO La Classe Operaia Va In Paradiso LP
Last copies, reduced price. Goodfellas present a reissue of Ennio Morricone's soundtrack for La Classe Operaia Va In Paradiso, originally released in 1971. La Classe Operaia Va in Paradiso was another strike for maestro Ennio Morricone, one of the most in-demand composers and arrangers of the time. Avant-garde and slo-funk - with scary fuzz and wah-wah guitars - collide on the track "Metamorfosi" and before you know it, you are in the same vertigo generated by Gruppo D'improvvisazione Nuova Consonanza. Classical and lush orchestrations are found, while pounding rhythms are the main course for the original theme: a violin solo offers a dramatic view of the main score just before an aggressive guitar break enters the psych-o-rama. The movie directed by Elio Petri was a dramatic take on the main social issue of the early '70s, dealing with the heavy conditions of the working class. This is one of the most sought-after soundtracks of Morricone's experimental side, evident by the original tribute set by John Zorn for The Big Gundown in 1986 ("Metamorfosi" was then performed by a who's who cast of stars featuring Vernon Reid, Bob James and Diamanda Galas).
PRICE: $25.50
UNITED STATES OF EXISTENCE The Psychedelic Yesterdays of Tomorrow LP
Sixteen roller coaster rides of authentic neo-psychedelic pop! The Psychedelic Yesterdays of Tomorrow is the first ever vinyl retrospective of pioneering '80s psych band United States of Existence. Includes their fab Introducing: the United States of Existence LP from 1986 (originally on Bam Caruso), plus essential single/compilation-only tracks and fantastic previously unreleased ones. United Sates of Existence were one of earliest neo-psychedelic groups from the US. Born in Baltimore in 1978 out of the ashes of prog-rock outfit Klangfarb, their goal was to reproduce the sound of their favorite '60s psych bands: Strawberry Alarm Clock, Electric Prunes, Blues Magoos, Nazz, The Association... They consisted of Paul Rieger (guitar, bass, electric sitar), Bob Tiefenwerth (organ, electric harpsichord. piano), Dennis Davison of Jigsaw Seen fame (lead vocals, acoustic guitar, Theremin), and Gary Schwartz on drums and harmony vocals. The group used vintage instruments and antiquated recording techniques to fully embrace the sounds of the first psychedelic era (1967-68). They never got to play live, preferring to spend their time recording in their basement studio or going on record-buying binges at all the discount stores, searching for obscure psychedelic albums with weird names like Harumi, Phulph, Bohemian Vendetta... They were championed by Greg Shaw (Bomp!) who chose one of their first recordings, the killer Return To The Psychedelic, as the opening track for the seminal Battle Of The Garages LP compilation (1981). They also appeared in another famous compilation, The Rebel Kind (1983). "Anything Goes!", their first 45, saw the light in 1984, self-released on the band's own label, U.S. Fidelity Sounds, and featuring members of the Association on backing vocals. In 1986, they caught the attention of the Bam Caruso label from the UK, where they released their only album, Introducing: the United States of Existence, in 1986. The Psychedelic Yesterdays of Tomorrow compiles all the material released by United States of Existence, including their Bam Caruso album along with various single / compilation tracks, as well as a few previously unreleased tracks and alternate mixes. Includes color insert with detailed liner notes and rare photos. RIYL: Blues Magoos, Electric Prunes, Strawberry Alarm Clock, The Association, The Seeds, Dukes Of Stratosphear...
HG 2006LP
PRICE: $26.50
CAT #: HG 2006LP
AMINI, SIAVASH A Mimesis of Nothingness LP
Siavash Amini returns to Hallow Ground with A Mimesis of Nothingness, his fourth album for the Swiss label. Following up on Harmistice (HG 1902LP, 2019) together with fellow Iranian artists 9T Antiope, the six tracks were conceived in close collaboration with another artist and see the prolific composer intensify his interdisciplinary approach. The six tracks enter a dialogue with the photographs of Nooshin Shafiee, an acclaimed artist whose work capturing their hometown Tehran becomes the starting point for one of Amini's most visceral and haunting records. A Mimesis of Nothingness translates the ephemeral situations and melancholic moods of Shafiee's pictures into suspenseful soundscapes that masterfully navigate between the concrete and the abstract. A Mimesis of Nothingness is a disquieting record precisely because it is a quiet one. Working with field recordings, Amini sculpts dynamic portraits that create an atmosphere of tangible suspense that is never fully released. Even when string-like sounds enter the picture as they do on the third track "Moonless Garden" or when the abstract and glacial noise on "Observance (Shadow)" demand the listener's attention, the six pieces take hold of the subconscious rather than trying to be direct and confrontational. It is sound conceived not as a description, but a circumscription of spatial relations and the eeriness embedded in them. Includes eight-page booklet.
PRICE: $20.00
CAT #: HOP 001LP
(The) Mudguards were a shadowy political art outfit active throughout the decade that saw the Thatcher/Reagan alignment lead us to the advent of the neoliberal nightmare we now all inhabit. This period in Britain was ripe with riots, strikes, social disorder, and a general turbulence that ensured the gap between the wealthy and poor was an agenda at the forefront as much as the dismantling of the fundamental framework which assured a decent standard of living for all strata of society. It is amongst this destabilizing environment that (The) Mudguards came to formulate their particular brand of politically informed art music. The refuge and waste of these ruthless and deceitful tactics were harnessed both mentally and physically in order to reconstruct a response to the heartless moves of the state. (The) Mudguards were a collective made up of Nelson Bloodrocket and Reg Out. Their tactical operation, in their own words, was "the commodification of dissent", drawing influences from "quintessential English working-class entertainment". All tracks on this LP were recorded at home in East London and Essex between 1983-88 and are previously unreleased. Ranging from bizarro pop to industrial dirges and scuzzy electronics the fantastic fury they developed embraced influence from the London squat scene, anarcho punk and industrial noise. (The) Mudguards concocted rampant excitement in their despair by re-appropriating scrap metal from newly formed industrial wastelands to create free kinetic sculptures. New electronic technologies were remodeled to create a sound absolutely unique. The joy in (The) Mudguards comes from the weirdness they concocted out of their collective frustration. This is powerful music, at the edge of pop, hovering over industrial whilst looking into a dance-oriented future. Foreseeing the obscene welfare gap and perverse media play on people (The) Mudguards message is as strong now as it was in their initial phase. Their art, their sonic world, their entire life force dedicated to re-appropriating all the humiliation and waste thrown at them by reinventing all as significant artistic statement in a world drenched in hypocritical vapid spores from the state. Artwork by Reg Out & Nelson Bloodrocket. Layout by Karolina Kolodziej and a new essay by Johnny Cash-Convertor -- MH. Mastered by Graham Lambkin. Printed inner sleeve; edition of 260.
PRICE: $72.00
CAT #: HOS 599CD
FEMALE Pleasures That Kill 5CD BOX
A key component of the 1990s Birmingham techno sound, and co-founder of the Downwards label, Female's music is as important for everything it doesn't tell you as it is for the pummeling rhythms it forces you to engage with. One of the few remaining examples of an artist with a palpable sense of mystique, Female conjures a world that evokes Film Noir, or even something out of a Burroughs story. The language of this music will be familiar to those who listen to "dance music", but the bare building blocks are often all we get. Development within these tracks is subtle, and it's the sense that something is being held back that gives the music its power. The forceful minimalism of these tracks creates a narrative that, when combined with their titles and the visual imagery of the sleeves, is at once immediate and yet feels almost impenetrable. This tension is what makes the music so invigorating. It's as if we're hearing blocks of sound carved out from larger monoliths that have no beginning or end. This music is an aural equivalent to an act of voyeurism, or the fear of seeing something horrific we shouldn't have seen. Brutal and repetitive, it recalls a distant time and place, yet somehow escapes the confines of linear time and sounds fresh today. This comprehensive box set places Female in the same spotlight as luminary figures Regis and Surgeon. These sides are no less important and their simplicity is deceptive. Female, with all its bleak and yet forward-thrusting energy, is crucial to understanding how Downwards, as a precursor to Sandwell District, created a larger-than-life legend. Carefully transferred from the original vinyl records with audiophile needles for the best stereo cuts, the audio was then meticulously cleaned and de-clicked. Justin Broadrick, a contemporary of the early Downwards crew with a pristine ear, was then brought in to remaster everything, resulting in a true to the original vibe but larger than life textural result. In addition to including every solo Female track and record released on Downwards and Sandwell District, the fifth disc presents a never-before released live collaboration with Regis from 2000. Velvet wrapped and debossed box with spot gloss individual CD wallets; includes large, fold-out poster featuring rare photos; includes download code.
PRICE: $88.00
CAT #: HOS 655LP
ORPHX Fragmentation 4LP BOX
Fragmentation was the third full-length album from Orphx, originally released in 1996 on the legendary Malignant Records label. Rich Oddie, Christina Sealey, and Aron West had founded the project three years earlier, creating pitch black noisescapes inspired by early industrial music and the extreme fringes of metal. By 1996, West had departed to focus on his absurdist noise project Tropism, while Oddie and Sealey began to push Orphx in a more rhythmic direction. Cassette releases on their own Xcreteria imprint (reissued by Hospital Productions and Mannequin Records in 2017) quickly attracted the attention of Malignant Records, who offered to release the next album. Fragmentation was made using the same basic tools as the early cassettes: contact microphones, scrap metal, effects pedals, feedback circuits, a drum machine, a couple of synths, and location recordings and found sounds manipulated by Sealey on reel-to-reel machines and an 8-bit sampler. While early Orphx recordings were primarily improvised direct to tape, this album places much greater emphasis on carefully constructed layers of sound, shaping their improvisational energy into powerful compositions that combines death industrial atmospheres and brutal power electronics with relentless, hypnotic percussion. Themes of illness, infection, and psychopathology dominate the album but are intertwined with references to transcendence, suggesting a desperate search for salvation in the midst of social/psychological disintegration. The Fragmentation reissue on Hospital Productions includes the original album, now remastered by Joshua Eustis (Telefon Tel Aviv), and over an hour of additional rarities and previously unreleased recordings. This includes rare compilation tracks, selections from the Obsession and Progress cassette (BloodLust!, 1996), the Final Moments cassette (Third Force/Isolation, 1997), and live recordings from 1995 and 1996. One of the only acts from the '90s to originate in the industrial underground, cross over into the rhythmic noise enclave of the early 2000s and attain a leadership role in the contemporary live techno apparatus with total authenticity. Clear vinyl; edition of 290.
H 038LP
PRICE: $22.00
CAT #: H 038LP
In his article "If Israeli soldiers start shooting, we won't stop the interview," Tom Faber, a journalist for The Guardian, describes Shabjdeed and Al Nather's music as omnipresent in the air: "I hear them everywhere. Al Nather's sleek productions pump out of car speakers in the Jordanian desert, and Shabjdeed's raps tumble from the bars of Haifa. And, of course, you hear it all in their home -- the tumultuous city of Ramallah." In August 2019, with the title Sindibad el Ward - ?????? ?????, they released one of the most astonishing hip hop albums of the last decade. Their collective BLTNM (pronounced "blatinum") is a distinguishing voice for hip-hop in the Arab world. Shabjdeed's lyrics are unusual and abstract. Interviewed by Arab music platform Ma3azef he declares: "Why aren't we capitalizing on misery? 1) It's shameful to do so; 2) Palestinians by nature are proud of being Palestinian. [...] We are used to how things are here, I sing mainly for Palestinians, so it would make no sense -- we don't sit around saying 'look how miserable we are.' [...] The days of singing about the war are over." Sindibad El Ward has quickly reached the status of classic, with his fresh urgency and unpolished poetic is considered for many the Illmatic of the Arab world. Clear vinyl.
IF 1059CD
PRICE: $14.00
CAT #: IF 1059CD
Two leaders from very different musical worlds, the innovative pianist Bruce Brubaker and scientist-now-electronic-artist Max Cooper collaborate to create this latest expression of music by Philip Glass and tell a story of diversity and vulnerability. Commissioned by and introduced at the Paris Philharmonie in 2019, Glassforms melds the acoustic concert grand piano with synths and cutting-edge electronic production techniques to create a compelling album and a dynamic live experience. Rather than just reworking or augmenting via traditional means, Max Cooper and Bruce Brubaker fundamentally rewire Glass's forms in a manner that's not possible with human composition tools. Max built a new system for musical expression through coding with software developer Alexander Randon, creating a tool for taking live data from the piano and transforming it into new but intimately related forms which drive his synths on stage. The result is that each of the pieces by Glass becomes its own electronic "instrument", an instrument Bruce plays in addition to, and simultaneously with the original piece. As Bruce plays the piano and controls synths with his playing, Max modulates and augments, sometimes adding his own melodies to form hybrid variants.
PRICE: $27.00
CAT #: JPR 063LP
"Soundtrack to David Lynch's 1984 cult film. Composed by TOTO and Brian Eno. Sourced from the original master tapes. Audiophile Pressing at RTI."
JLS 3028LP
PRICE: $14.00
CAT #: JLS 3028LP
2020 repress. Exact repro LP edition (CD is on Sanctuary). "Re-issue of an impossibly rare record that fetches huge sums. Released in 1971, the music defies description; there's Afro-beat, funk, psych, jazz rock, fuzz guitar, the works, in long 9-minute tracks like 'Past, Present & Future' & 'Mercy'."
PRICE: $18.00
VA Spiritual Jazz Vol. XII: Impulse! 2CD
In Jazzman Records' latest chapter of Spiritual Jazz, the label returns to the source -- the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane. Since the first release in the series back in 2008, Jazzman Records has mapped out the growth of the spiritual sound in jazz. Spiritually energized and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. The label's series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange-and-black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharoah Sanders, Yusef Lateef, McCoy Tyner, and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse! the defining imprint of a crucial decade. They hand-picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan: "The New Wave Of Jazz Is On Impulse!" Here, Jazzman Records dive deep into the Impulse! catalog, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant, and as relevant as ever. Also features Max Roach, Freddie Hubbard, Archie Shepp, Michael White, and Marion Brown.
PRICE: $34.50
VA Spiritual Jazz Vol. XII: Impulse! 3LP
Triple LP version. Gatefold sleeve. In Jazzman Records' latest chapter of Spiritual Jazz, the label returns to the source -- the Impulse! label, and the monumental influence of its most prominent artist, John Coltrane. Since the first release in the series back in 2008, Jazzman Records has mapped out the growth of the spiritual sound in jazz. Spiritually energized and politically conscious, the spiritual sound in jazz music is one of the most important currents in the music. The label's series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. But whenever you think of spiritual jazz, it's a fair bet that the double exclamation mark and orange-and-black spine of Impulse quickly comes to mind. Home to John and Alice Coltrane, Pharoah Sanders, Yusef Lateef, McCoy Tyner, and countless other musical pioneers, Impulse! was the most important and forward-thinking jazz label of the 1960s. With the music-first attitude of an independent but the clout of a major, producers Creed Taylor and Bob Thiele made Impulse! the defining imprint of a crucial decade. They hand-picked the top players of the moment and gave them freedom to record the music they wanted, setting out their stall with a bold slogan: "The New Wave Of Jazz Is On Impulse!" Here, Jazzman Records dive deep into the Impulse! catalog, bringing celebrated masterpieces from Alice Coltrane and Pharaoh Sanders into the arena, together with lesser known cuts from Phil Woods and John Klemmer as well as straight-up classics such from Yusef Lateef and Elvin Jones. Fifty years on and the new wave of jazz still sounds fresh, vibrant, and as relevant as ever. Also features Max Roach, Freddie Hubbard, Archie Shepp, Michael White, and Marion Brown.
PRICE: $33.00
EDDIE & THE HOT RODS Get Your Rocks Off LP
"First time on vinyl live 1976 album linking pub rock and punk. Three bonus 1975 tracks. Ltd ed in red & blue vinyl. Eddie & the Hot Rods recorded live in France in May 1976, for the first time on vinyl and with bonus unreleased tracks featuring Lew Lewis -- in a limited red and blue vinyl 2xLP. Eddie & the Hot Rods are the missing link between high-energy pub rock and the punk explosion of the following year. They were quickly branded as part of the punk movement, but their roots were American rock'n'roll, and also owed much to Dr Feelgood, who were from the Rod's hometown of Southend. Three bonus, previously unreleased live 1975 tracks on Side 4 feature fabled harmonica player Lew Lewis - he left the band shortly after so Hot Rods fans will be pleased to find that these rare recordings exist. Vocalist Barry Masters died aged 63 in November 2019."
PRICE: $16.00
LOSCIL coast/ range/ arc// CD
"Named after the geographic formations of the seismically volatile Cascadian coastal mountains, loscil's coast/range/ arc// reissue features new artwork and an additional track. Remastered by James Plotkin and available on vinyl for the first time."
LR 002LP
PRICE: $45.00
CAT #: LR 002LP
MITCHUM, ROBERT Nice Girls Don't Stay For Breakfast LP
Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary Nice Girls Don't Stay For Breakfast (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones, and Dr. John. Mastered by Translab Mastering. Sleeves designed by Nathan Kilcer; printed inner sleeves with stills from Bruce Weber. 180 gram vinyl; gatefold sleeve; edition of 600. NOTE: This is not a reissue of the Julie London LP on Liberty in 1967.
PRICE: $23.50
CAT #: LCR 052LP
BREE, JONATHAN After The Curtains Close LP
LP version. Jonathan Bree's fourth album After The Curtains Close sees the producer's trademark orchestral pop take a few unexpected turns both into the experimental and into kitschy territory populated by some of his French heroes of the 1960s. The end result is an album that retains Bree's musical DNA while being fun and varied. What could be described as Bree's "sleazy" album could also be described as Bree's break-up album. Dealing with the break-down of a major relationship Bree opens up to reveal a year of loneliness and mental trauma while also channeling positive feelings by embracing sex and sleaze in his music, subject material more traditionally reserved for the single man. Bree strikes a great balance here between darkness and silliness and he does this without appearing snide, which is a line some artists can seem all too happy to cross. Bree's vocals are on display in a full range of styles, his baritone croon jumps octaves and everywhere in between across the 12 tracks and he is even present singing his own back-up vocals in child-like falsetto ("Heavenly Vision"). Opening track "Happy Daze" is a ray of heady sunshine and wall of strings celebrating worrying about nothing else while in a lover's arms. First single "Waiting on The Moment" has been accurately described as a celebratory break-up song, with cynical and slightly mean lyrics set to a grand and danceable '80s pop arrangement. Bree celebrates new romantic encounters with fun orchestral pop songs full of double entendres and his talent for writing for the female lead vocal has not been so obviously on display since his work with The Brunettes. Britta Phillips (Luna) takes lead vocal duties on "Meadows in Bloom", a tragic Shangri-La's inspired narrative about the pitfalls of sleeping with the drummer. "Until We're Done" is maybe the world's first "orchestral pop club banger" with sexualized modern chart-pop lyrics set to an arrangement that sounds like a strange psychedelic nightclub from a film noir horror. "Children" has Bree feeling obsolete and old at a night-club surrounded by the younger generation. Album highlight "In The Sunshine" has Bree sounding his most vulnerable yet on record, suspicious about a lovers reconciliation over a mid-tempo groove of '70s synths, Omnichords, and a haunting string arrangement. Album closer "After The Curtains Close" discusses the loneliness of an artist who has sacrificed love for the narcissism of a career, adored by sycophants. Also features Princess Chelsea and Crystal Choi.
LR 142C-LP
PRICE: $21.00
CAT #: LR 142C-LP
VELOSO, CAETANO Caetano Veloso (Araçá Azul) (Clear Vinyl) LP
2020 repress. Lilith Records present a reissue of Caetano Veloso's Caetano Veloso (Araçá Azul), originally issued in 1972. Apparently when this album was originally released in 1972, confused and bewildered fans, expecting more of the same found on Transa, released earlier that year, returned the album to the shop, demanding a refund. Meanwhile, critics raved, and many now consider Araçá Azul to be one of his great creative moments. To be fair to his many fans, it was a stark departure from his previous releases, which were decidedly more pop, but Veloso had been through a lot recently, having just returned from political exile in the UK, so it is no wonder that the artist was feeling a bit like he needed to fly in the face of conformity. In Veloso's own words, "I made this album without thinking, without taking the time to stop to think." He refers to the album's "insolent experimentalism" and calls it a kind of "last stand." Clear vinyl.
PRICE: $31.00
CAT #: MAR 030LP
JAY DAYS Between The Swells LP
Mad About Records present a reissue of Jay Days' Between The Swells, originally released in 1978. A killer AOR rarity. Jay Days' only album presents eight killer funky AOR sounds and blue-eyed soul tracks. Rarely surfaced in the collectors' market, the album is finally reissued on vinyl. A band formation with mysterious session men who support Jay Days of slack guitar vocal, gentle electric piano with jazzy rock, blue-eyed soulful mellow, female chorus with mystic groove. It contains Hawaiian-style acoustics and dense performances unique to the private press. It is a hidden AOR masterpiece where you can feel the tropical atmosphere of the street along with the wind of the West Coast. 180 gram vinyl; hardcover sleeve; hand numbered.
UD1S 2010LP
PRICE: $165.00
CAT #: UD1S 2010LP
"Mastered from the original master tapes for definitive sound quality. Pressed at RTI on MoFi SuperVinyl-Deluxe Collector's Set. Includes Opulent Box and Foil-Stamped Jackets. Blues- and gospel-rooted jazz brilliance sparks with diversity, personality, and freedom. 'Better Git It in Your Soul' not only serves as the name of the inviting opening track of Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that is cited on practically every 'greatest' list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. The vaunted 1959 record stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and color remain paramount. Strictly limited to 6,000 numbered copies and pressed on MoFi SuperVinyl, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition box set makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole, the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more than music. What you hear is the formation of aura and atmosphere traditionally only associated with live concerts. As such, the collective's technical acumen lingers not only in the mind, but invigorates the senses."
M3H 007LP
PRICE: $25.50
CAT #: M3H 007LP
SPAZA Uprize! LP
In South Africa, June 16, 1976 is unanimously recognized as the definitive turning point in the tenor and intensity of the fight against apartheid. It comes as the internal capacity of the major liberation movements such as the African National Congress and the Pan Africanist Congress is nearly depleted; with many of its leaders in jail or in exile. Black Consciousness (BC) arises from these ashes and the apartheid regime scrambles to contain it in the form of assassinations, banning orders and trials. High school youths in Soweto, having already imbibed BC from their teachers (a group of newly-recruited university radicals), begin planning protests that would attain an incredible kinetic thrust. These demonstrations were supposedly to rally against the use of Afrikaans as a medium of instruction, but as student leader Tsietsi Mashinini says in the documentary film UPRIZE!, the situation in South Africa had been explosive for a long time and any issue could have delivered the shift in momentum that June 16th would symbolize. This new SPAZA release is the original motion picture soundtrack of the film UPRIZE!, but it serves a parallel function. Recorded in Yeoville, Johannesburg, during a three-day improvised scoring workshop in 2016, the recording is almost the underside of the film, which strikes a defiant pose both in the selection of speakers and in the tone of much of the archival footage. The June 16th protests stretched over several weeks in a countrywide blaze that turned out to be a sustained show of solidarity among students and an unbridled display of brutality by the state. The recording process mirrors that protraction, working out a new language with which to commemorate the death, darkness and defiance of those days.
PRICE: $23.50
GAMEDZE, ASHER Dialectic Soul 2LP
Repressed; double LP version. Includes printed inner sleeves. On The Corner Records announce the release of Dialectic Soul, the debut album from one of Cape Town's most cutting-edge, visionary artists and musicians, the drummer Asher Gamedze. This is jazz at its most spiritual, most progressive, and most appealing form. As Asher himself says: "Dialectic Soul is about motion and a refusal to remain static or stay still. It's the commitment to be continually moving." Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians -- Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet), Nono Nkoane (voc) -- Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the total art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept. Asher continues: "My composition 'state of emergence' introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on the violence of colonialism, the teachings of Coltrane, Steve Biko, Makeba, and Malcolm X and others inspired the music's positive manifestations of resistance. Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving." Gamedze is best known for his work with Angel Bat Dawit on International Anthem.
PRICE: $27.50
VA Door To The Cosmos 3LP
On The Corner Records goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future music across the globe. This Door To The Cosmos compilation is the label's tenth full release (and an eclectic array of 20 EPs). OtC's rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis's "call it what you want" attitude, the Afro-centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dancefloor. Door To The Cosmos expresses On The Corner's adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans, or the Niger delta. The title riffs off of the otherworldly, Afro futurist jazzer Sun Ra's infamous chant "dare to knock at the door to the cosmos." Sun Ra's sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future. Gatefold sleeves; printed inner sleeves. Features Azu Tiwaline, Cinna Peyghamy, Khalab, DNGDNGDNG, Quixosis, JD Twitch, BKCLX, Edrix Puzzle, Don Korto, Rebecca Vasmant, Uffe, Planet Battagon, Clive from Accounts, Jose Marquez, Guedra Guedra presents Taxi Kabir, Tamar Collocutor V, Ariwo, Batida, Karlon, Petwo Evans, Dengue Dengue Dengue, Nicola Cruz, Sunken Cages, Iyer, Babani Soundsystem, Collocutor, Afrikan Sciences, Tenesha The Wordsmith, Tamar Collocutor, and Vasmant.
PRICE: $22.00
CAT #: HUM 033LP
LP version. Barringtone offer their eclectic debut, Bonanza Plan, produced in two parts by Nick Howiantz at Brixton Hill Studios and Oli Bayston (Boxed In) at Gun Factory Studio, Homerton. Bonanza Plan is a slice of avant-garde pop, recorded in live takes, with over-dubs, synths and field recordings. The album is a pulsating and bizarre assortment of progressive pop, math rock and angular mayhem, with an organic smattering of bird song. Lighting-up dancefloors with their mathematical, rock pop wizardry, Barringtone are fast becoming known for their enchanting, complex arrangements and danceable/dissonant time signatures. The album is a mix of glorious electro pop like "Feverhead", to the more math rock, progressive stylings of "Foxes & Brimstone". "Gold Medal Vision" is motoric, unexpected, clunky and funky -- curiously demanding. "Dreamboyz" shimmies into an unanticipated groove from a lyric that conjures the image of unicorns, ridden bareback, tigers painting rainbows, bursting into flame -- wild, heady, and scattered, unexpected chords surge and surprising beats sneak up on you. "Into The Woods" takes you into the forest, as krautrock guitar arrangements conjure electronic beats. "The New New" speeds up, a dazzling synth line, a lilting lift, crafts into a spangled disco ball, evoking an optimistic Public Service Broadcasting, as the track plunges from laser chic to rugged disco beats. "Emily Smallhands" spellbinds like a fine piece of embroidery, musing on a lady with a curious name. "Technollipop" is jerky, frenetic, a Rundgren-esque foray into the hypnotic delights of AK/DK, squelching beats and choir-like rock vocals. Finale "Pet Gazelles" is a whirring miasma of beats and electronics, surging towards sonic genius, while creating an eccentric and exhilarating sketchbook of sound similar to Battles, in a mercurial realist expression. Barringtone emerge from their previous incarnation post-punk electro pop artists Clor, their debut Snake In The Grass (2008) was produced by Jas Shaw, one half of Simian Mobile Disco. While Barry Dobbin's vocals featured on SMD's track Love, from 2007 album Attack, Decay, Sustain, Release.
OP 055LP
PRICE: $25.00
CAT #: OP 055LP
Nicola?s Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicola?s scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research ??? ???? ???? ???? ???? ? ?????.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Herna?ndez. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicola?s performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicola?s has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA."Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
PRICE: $25.50
"Basically my albums have developed into my personal field of experimentation" says Martin Gretschmann, aka Acid Pauli. Known primarily for his psychedelic, leftfield club sounds that weave between slo-mo beats and deep burners, his EPs, remixes, and collaborations have generally been more focused on the dancefloor. With his latest album, MOD (his third full-length released on his own Ouïe label), Gretschmann goes in a tangential direction, drawing inspiration from modular synthesis and the scene that has flourished around it over the last years. The result is an album produced almost entirely with modular systems, inspired by the possibilities and restrictions of carefully shepherding machines that sing to themselves. Experimental as MOD may be, it certainly isn't "difficult" or inaccessible -- or as someone put it, the nine tracks here are "soft, elegant, fluent, dreamy -- the tracks achieve the effect of space-time morphing -- magical states." Most of the tracks were recorded live in one take -- often with Gretschmann recording up to ten different versions before choosing the final piece. "Propagating Flip Flops" starts things off -- its glitchy textures and sync-shifting set the scene for the album -- the sounds evolving and developing before resolving into a warm, ethereal tone. "Intellijel Bell" is made up of deep loops of rhythmic sounds, while metallic sounds and a submerged jazzy undertone hint at the classic Acid Pauli sense of fun. "Acid On Yusef" uses looped up rhythmic pulses and bass tones, joined by modulated beeps and blips. "Sublime Frequencies Of Cairo" is another beatless, floating collection of loops that shift and morph -- seemingly suspended in space, before an ambient orchestral element resolves the track. As the title suggests, "Du Brecht, Ich Dub" revolves around a bass heavy sound, building up a rhythm of disparate elements that develop into a tense yet somehow weightless groove. "Life Polarizer" is further evidence that an Acid Pauli album will always somehow drift back towards the groove. "Peace Waer Schoen" also makes heavy use of delay to create a dubbed-out, wonky feel. The freedom of getting away from computer-based production is referenced sardonically in "Quantize Hell" -- its bleepy sounds find a rhythm and progression outside of the grid. Finally, "No Kick, No Cry" has the first and only kick drum of the album and adds a structure to the magical unpredictability of the looped sounds. Embossed gatefold sleeve; includes download code.
PP 047LP
PRICE: $27.50
CAT #: PP 047LP
HARWOOD, MARK A Perfect Punctual Paradise Under My Own Name LP
"A Perfect Punctual Paradise Under My Own Name is a two-part audio drama that charts the life of a middle-aged Australian man in the throes of an existential crisis, brought about through a series of unforeseen circumstances that collectively threaten to undermine the fundamentals of his existence. It's a work that explores the sound of a mind collapsing under pressure, where lucidity is traded for mania, and eloquence reduced to a scattershot of primal rambling and abstract self-reflection. It's man-as-animal, cowering in a cage, teeth exposed, as vulnerable as it is unpredictable. It's the sad musings of a failed musician turned stand-up comic, left alone in his squalid flat to reflect on life's undelivered promise with only the constant playback of his odd routines for distraction. It's a palimpsest of derelict ideas and unloved skits, etched onto the tattered skin of Salmon Run and worn before an audience of no one. It's a series of wrong turns and dead ends, a puzzle, a game, a confession, but above all else, A Perfect Punctual Paradise Under My Own Name is the greatest record Astor never made." --Graham Lambkin Edition of 300.
PRICE: $22.00
CAT #: PLZ 030LP
OTTO Clam Day LP
Those voices become even more prominent on Otto's upcoming full-length album, Clam Day, which leans more into his songwriting capabilities. While sprawling, psychedelic tracks like the seven-minute composition "Microplastics In My Bloodstream" and the taut, elastic opener "Sprained My Ankle In Gristedes Juice Aisle" continue to showcase Otto's flair for strange electronic textures, he also provides what feels like a parallel universe pop song with the dreamy "Guess My Crush". Starting life as a song he wrote on the guitar, "Guess My Crush" is "just four sine waves slightly detuned," explains Otto, "which I find really fascinating. It's one of the most low-level simple sounds one could synthesize -- but it gave me this incredibly peaceful feeling and I knew that I had finally found a song or sound that I could use to channel a lot of very specific feelings into." Otto's music may sound playful, but it also reveals his preoccupation with the idea of material (especially electronic) waste, and so a vague sense of decay and dread clings to the fringes of his songs. Imagine the face of a cartoon character staring at you from beneath the translucent sheen of a trash bag -- that's the funny-yet-grim space that Otto's music occupies. "I find it funny and also very troubling that 15-20 years after all of this kids' media, there are still bits and pieces of these obsolete franchises drifting around in the form of cheap plastic shit, now in landfills and contributing to lakes of toxic leachate," he reflects. "It's something I feel pretty stressed out about." That very real anxiety gives Otto's songs a sinister edge: those corporate sprites can often sound like they're taunting you, and soothing tones can shift to something more somber in barely a beat. That discomfort is part of the joy of Otto's strange, bristling music. His songs never make clear exactly how you're meant to feel -- what would be the fun in that?
PI 238LP
PRICE: $20.00
CAT #: PI 238LP
CROATIAN AMOR All In The Same Breath LP
The different seeds that have been planted throughout the life of Croatian Amor come to bloom on All In The Same Breath, affirming an equilibrium that's all its own. Spiraling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's ten tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album Love Means Taking Action (ALT 028CD/PI 180LP, 2016), Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²TM have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album Isa (PI 220LP, 2019) with its treated vocalizations and cascading rhythmic mechanics. All In The Same Breath, arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem. Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. All In The Same Breath is perhaps more than anything an invitation to be open to wonder.
PRICE: $23.00
VA Brown Acid - The First Trip LP
2020 repress. "Back in stock on purple vinyl. Expertly archived compilation (assembled by LA's Permanent Records along with Riding Easy) explores the wealth of proto-metal, pre-stoner lost rock tracks from the past 30 years. Features blowouts from Snow, Tour, Zebra, Bob Goodsite, Raw Meat, Punch, Bacchus, Lenny Drake, The Todd, and Josefus."
RM 4119LP
PRICE: $23.00
CAT #: RM 4119LP
SUZUKI, AKIO Zeitstudie LP
From Akio Suzuki: "In May 1984 I appeared at a German festival called Pro Musica Nova, organized by Radio Bremen. I then travelled to Berlin by car with Rolf Langebertels, the owner of Galerie Giannozzo who had driven to Bremen to hear me perform. I still remember very vividly the experience of passing through the checkpoint to enter West Berlin, a city that floated like an island in the middle of the still socialist GDR. I had previously visited Berlin in 1982 to perform at Kunstlerhaus Bethanien at an event that Rolf had organized. This time too Rolf had organized a concert for me at the Technische Universitat. Playing off the title of the piece ('Study Time') I had performed at Pro Musica Nova, I titled the piece for this concert 'Zeitstudie'. I owe Rolf a great deal of gratitude, as it was him who encouraged me by releasing my very first cassette tape, Zeitstudie von Akio Suzuki. In recent years it has become difficult for me to carry heavy instruments around with me, and I have started to do simpler performances with objects assembled on site . . . On Zeitstudie von A.S. I used an ANALAPOS, the echo instrument I invented in 1970, and the Suzuki-type glass harmonica that I created in 1975. The ANALAPOS resembles the tin-can telephone that children used to play with: two metal cans, open at one end and connected by a coil spring. You play it by stretching out the spring horizontally and then projecting your voice into the open end of one of the cylinders. The second piece features a variation, where I would suspend several ANALAPOS vertically and play them like a percussion instrument. The Suzuki-type glass harmonica is in a simpler form than the pre-existing glass harmonica, and consists of five long glass tubes of varying diameters suspended horizontally in a metal frame. As well as rubbing the tubes with wet hands, I developed my own style of playing it using sticks. Once when I was practicing with it in the Netherlands, outside the window I was surprised to hear a bird imitating my sounds. However, later I discovered that the bird always sang that way, and as a token of my regret for having ever doubted it, I borrowed the bird's Dutch name, De Koolmees, and I still use it for my instrument..."
PRICE: $12.00
ABER, SHLOMI Orion 12"
Israeli producer Shlomi Aber makes his Second State debut with an assured package of nuanced, nimble techno, of the standard you'd expect from a chameleonic producer with over 17 years in the game. "Orion" is a paranoia-laced stomper, with rattling beats and synths that dart around like eyeballs scanning the crowd for friends. Silky stabs lend the track a cinematic quality, almost mimicking a scene in a horror movie. "Nuclear" is just as evocative, layering a harmony of string stabs over teasing synthetic hi-hats and whipping FX. It's complex and intelligent, but Shlomi makes it sound effortless. The Pan-Pot remix of "Orion" is stormier. The same rubbery, springy bassline is there but the track is trippier in character thanks to tribal drums and synths that pop like rayguns. Think "galactic circus" and you're getting close. Buzzing insect sounds usher in "Brikz", an atmospheric track designed to put you on edge, in a good way. At the track's tensest point, the drums drop out altogether before returning in downtempo breaks-y patterns. Definitely not your typical techno cut, but then nothing Aber does is typical. Second State is thrilled to welcome this master producer into the family with a release that promises to expand minds while moving bodies.
PRICE: $25.50
First ever reissue of this ultra-rare acetate (two copies pressed) from 1972, Grit's self-titled album. Featured in Hans Pokora's book with the maximum scale rarity. Psychedelic hard-rock with furious drumming and stunning lead guitar by this unknown until now London based band. Includes the four tracks from the original acetate (taken from the master tape) plus two bonus tracks taken from lo-fi, crude rehearsals: "1000 Miles" (a Grit original) and a killer demo version of "Mineshaft". Born from the ashes of a London band called Merlyn, Grit consisted of Frank Martinez (lead guitar, vocals), Paul Christodoulou (bass, vocals), Tom Kelly (drums, vocals), and Jeff Ball (vocalist). Frank, nicknamed "Spider", has an interesting story: at the beginning of his musical career he auditioned for Joe Meek at his Holloway Road studio. Later, he also played with a band called Grand Union -- who supported Pink Floyd in 1968 -- and with members of the John Dummer Band. An electronic wizard, Frank also worked building amps and electronic equipment at Nolan Amps, MIDAS, etc. Tom Kelly came from a band called Connexion and Paul Christodoulou had played in Merlyn along with Frank. After some attempts, the definitive line-up of Grit was born when Frank and Paul convinced drummer Tom Kelly to join them, after assisting to a Nazareth concert. They also recruited powerful singer Jeff Ball after an ad in Melody Maker. On Christmas Eve, 1972, Grit recorded a demo at SWM Studios and two copies of a one-sided 12" acetate were pressed for promo purposes. It featured four self-penned songs, the killer "Mineshaft" (pure underground fuzz hard-rock), and two lengthy numbers: "Child and the Drifter" (furious drumming, stunning leads, hard-prog moves), and the hard-psychedelic "What Do You See In My Eyes"/"I Wish I Was". 40 years later, one of the two copies of the original Grit acetate was found at a flea market in Germany, which led to its inclusion in the 7001 Record Collector Dreams book by famous collector Hans Pokora. By pure chance in 2019, Alex Carretero from Guerssen found Frank Martinez and he opened his vault, which included the original master tape of the Grit acetate and several tapes with rehearsals from Grit and Merlyn. Master tape sound. Includes insert with rare photos/memorabilia and detailed liner notes. Free download card includes the full album plus another three digital-only bonus tracks, also taken from rehearsal tapes, including cool cover versions of "Chicken Shack" and "Burnin' Red Ivanhoe".
PRICE: $34.00
CAT #: TLP 029LP
Double LP version. Three Queens in Mourning first gathered in summit to sing celebration of the publication of Will Oldham's book of collected lyrics, Songs of Love and Horror (2018). Alasdair Roberts (Appendix Out), Jill O' Sullivan (Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and dearest from Bonnie Prince Oldham's far-reaching catalog. Three Queens in Mourning's takes on these tunes follow naturally from the fit between Will's words and their three distinctive voices. Alasdair Roberts' sweet, guileless delivery of "Christmas Time in the Mountains" amplifies the lacerating quality of the lyric "we need an enemy / I'm saving all my rage for you"; even if at the outset of the song we're told that "time is the enemy," the abiding sentiment -- the red-hot word that organizes my memory of the song -- is rage. Ali and Jill's trading of verses on "New Partner" puts a different spin on what had previously registered as an especially mercurial first-person narrative voice, one that swoops between tenderness ("lay back, rest your head on my thighs") and ecstatic self-absorption (breaking it to the ex to whom the song is addressed that "I've got a new partner riding with me"). Add Alex's voice, not only for his madcap "Lost Blues," but as part of the choir on "Ohio River Boat Song" (a song with origins in the traditional "Loch Tay Boat Song"), and these three Scottish accents singing about the muddy Ohio, Smoketown, Oldham County, and Floyds Knobs, there's not much else this Kentuckian like Oldham -- these are all deeply familiar landmarks -- can say. Type through tears. On this back-to-back record, the Bonnie "Prince" Billy LP is a collection of three cover versions from Ali, Jill, and Alex directory and one original track. Three Queens in Mourning/Bonnie "Prince" Billy is a collaboration between Will Oldham (Bonnie Prince Billy), Alasdair Roberts (Appendix Out), Jill O Sullivan (Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex). Sleeve notes by David Grubbs.
HC 002LP
PRICE: $29.00
CAT #: HC 002LP
CHRISTIANSEN, HENNING Op. 41 BADET / Kom Frem For Satan / Min Dode Hest / Op.72 Bondeforeren Knud Lavard LP
The second release on The Henning Christiansen archive label is a compilation of four works from 1967-1972 including a poem set in a bath, an unknown musical work, the musical backdrop to a horse sacrifice and a soundtrack to a school play. What binds these works together alongside the period when written is their basis in "song" and some traditional "musical" elements. What separates it them from said tradition is that they were composed by Henning Christiansen. "Op. 41 BADET" is a simple work featuring three elements: Charlotte Strandgaard reading her poem "Badat" (The Bath), Henning playing melodica, and the sound of water splashing in a bath. The result is an unusual and evocative lo-fi setting to the resigned nature of the reading. Not a lot is known about "Kom Frem For Satan" (Come Forward Satan). Possibly a soundtrack of sorts? It certainly carries that mood with jazz-inflicted interludes, melodic organ moments all interlaced with the diegetic sounds of cars, footsteps, gunshots, etc. The result comes across like a gangster tinged musique concrete radio play. "Min Død Hest" was previously released as a single-sided 10" under the name "Hesteofringen", here restored under its correct name. "Min Død Hest" (My Dead Horse) was written to accompany the Bjørn Nørgaard performance "Hesteofringen" (The Horse Sacrifice) on January 30th, 1970, one of the most notorious performances in Danish art history. Featuring a poem written by Lene Adler Pedersen, this is a recording made after the performance with Lene Adler Pedersen singing, accompanied by Christiansen on piano (as opposed to the green violin he used in the performance), "Min Død Horse" is a beautiful haunting fragile song laden with metaphor, a sad lullaby is as simple and unusual as anything in Christiansen's output. "Op. 72 Bondeføreren Knud Lavard" is the soundtrack to a school play performed on at the Fanefjord School on the island of Møn, Denmark, where he lived, in 1972. Another surprising work in Christiansen's oeuvre the six pieces that make up this work shift between the sinister and sweet, often in the same track. Falling within the same period Henning made the soundtrack to The Executioner, "Bondeføreren Knud Lavard" mixes the melancholic romantic mood of that soundtrack whilst deep organ chords, military drumming and an acoustic guitar solo (played by Henning's first son Esben Christiansen) all make an appearance.
HC 003LP
PRICE: $29.00
CAT #: HC 003LP
CHRISTIANSEN, HENNING L'essere Umano Errabando La Voca Errabando LP
The third release on The Henning Christiansen archive label features a previously unreleased work from 1991. "The Wandering Human Being - The Wandering Voice", as the title suggest is a piece for voice and features Carlo Quartucci, Carla Tatò, Ursula Reuter Christiansen, and Henning Christiansen. Ursula and Henning met the couple Carlo Quartucci and Carla Tatò through the curator Johannes Gachnang on a visit to Genazzano in Italy 1983 and became close friends, collaborating on a variety of projects, most notably on Carlo and Carla's epic adaptation of Heinrich von Kleist's play Penthesilea. "The Wandering Human Being - The Wandering Voice" came about from a conversation between the four of them whilst on a beach on the island of Møn in the eastern sea in Denmark, looking south. Here they all laughed at the realization that on the other side of Europe in this direction was Sicily where Carlo and Carla lived. The island Sicily, The island Møn. As Henning says: "The human-being was wandering from sea to sea." Henning saw no difference in their way over life "over there" and mused on the means of which we cross over oceans and move around facilitating awareness of the same family of human being. People from islands meet people from islands and they can all look across vast waters and laugh together. Human-basic-technology This conversation and collective realization of the simplicity of it all lead to this work which is one of the finest in Henning's vast catalog. L'essere Umano Errabando La Voce Errabando is a mantra for four voices, the sound of the ocean, a PVC tube, effects, and wind instrument. The piece moves in an organic hypnotic fashion lulling and rolling, ebbing and flowing over the two sides of the record. Rudimentary phrases in various languages interlope and weave a mystical music, as primitive as it is "contemporary". "The Wind, The Stars" are repeated over in random untrained fashion. The two couples from different countries weave voices, words and language into a common sonic fabric which eradicates identity, the idea of "national," the idea of country, the idea of difference. Unlike anything else in Henning's output, L'essere Umano Errabando La Voce Errabando is a calm and meditative work which rolls along two sides wrapping the listener in a random melancholic meditative mantra. Only Henning Christiansen could summon such haunting, beautiful, gothic music carved from political hope.
PRICE: $12.00
CAT #: PRSD 2212LP
HARRISON, WENDELL An Evening With The Devil LP
2020 restock. Exact repro reissue of Wendell Harrison's 1972 release, featuring Marcus Belgrave (flugel horn), Charles Moore (trumpet), Will Austin (bass), Charles Eubanks (electric piano), Ike Daney (drums), and Phillip Ranelin (trombone).
PRICE: $12.00
CAT #: PRSD 2214LP
2020 restock. Exact repro reissue of Wendell Harrison's 1985 release on the Detroit-based Tribe label. Saxophonist, clarinetist, flutist Harrison is joined by trombonist Phil Ranelin, drummer George Davidson and percussionist Barbara Hubie.
VL 900174LP
PRICE: $30.50
CAT #: VL 900174LP
2020 repress. Vinyl Lovers present a reissue of John Mayall And The Bluesbreakers' A Hard Road, originally released in 1967. More than a compilation, this album is a complete document of the Bluesbreakers' recordings with Peter Green, of which "A Hard Road" was just the most prominent part. The 16 bonus tracks include several non-LP singles (among them the 1967 B-side "Rubber Duck", which has never before appeared on LP).
PRICE: $25.00
CAT #: WRJ 002LP
FUKUI, RYO Mellow Dream LP
2020 repress. New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976's Scenery (WRJ 001CD/LP/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio -- Satoshi Denpo is on bass and Yoshinori Fukui is on drums -- demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. Mastered at half speed; 140 gram vinyl; includes sticker.
PRICE: $34.00
FUKUI, RYO A Letter from Slowboat LP
LP version. 180 gram vinyl; Half speed mastered; Heavy sleeve and obi. We Release Jazz announce the official reissue of Ryo Fukui's final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters. Known for his miraculous albums 1976's Scenery (WRJ 001CD/LP) and 1977's Mellow Dream (WRJ 002CD/LP), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz. A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui's jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity, and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day. Reissued in conjunction with 1999's Ryo Fukui in New York (WRJ 009CD/LTD-LP), also available via We Release Jazz.
PRICE: $34.00
FUKUI, RYO Ryo Fukui in New York LP
LP version. 180 gram vinyl; Half speed mastered; Heavy sleev and obi. We Release Jazz announce the official reissue of Ryo Fukui's New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters. Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui's idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable sessions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums. Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui's very own Mellow Dream (WRJ 002CD/LP). It's expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it's got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way. Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day. Reissued in conjunction with 2016's A Letter from Slowboat (WRJ 008CD/LTD-LP), also available via We Release Jazz.
PRICE: $25.00
KAWAI, KENJI Ghost In The Shell (Original Soundtrack) LP
2020 repress. We Release Whatever The Fuck We Want Records present the ?rst ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science ?ction anime ?lm Ghost In The Shell (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong ?lms Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme "Making Of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the ?lm's musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime ?lms of all time and its in?uence has been felt in the work of numerous movie directors, including James Cameron's Avatar (2009), the Wachowskis's The Matrix (1999), and Steven Spielberg's AI: Arti?cial Intelligence (2001). For fans of anime, manga, movie soundtracks, science ?ction, ambient, folklore, Japan, Akira (1988), arti?cial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).
PRICE: $17.00
CAT #: YAZ 1001HLP
VA Mississippi Blues 1927-1941 LP
2020 repress. 180 gram reissue of this essential Yazoo compilation from 1967. Artists: Henry Sims, William Harris, Skip James, Charley Patton, Geeshie Wiley, Mattie Delaney, John Bird, Bobby Grant, Son House, Harvey Hull and Robert Johnson.
PRICE: $15.50
CAT #: ZKR 027CD
KRAFFT for orchestra was composed in 2016 as a commission of the French State, and was premiered in Paris and Marseille, France. The composition has a similar kind of metric structure as String Quartet No.3: all instruments play in rhythmic unison throughout. KRAFFT is an ironic-onomatopoetic wrong spelling of the German term "Kraft", meaning "power" or "force". The listener should feel exposed to a sonic undertow. The notion of huge power and force is often connected to the existence of clandestine and unknown rules controlling the world around us; something is happening, but we do not know exactly what, when or how. KRAFFT enforces textural listening as Richard Wood described it "an unwinding strip of 'texture': just listen to that; not to its various strands as such, not to one single strand, but to it as a whole, an unwinding ribbon, varying as it goes in width, in colour, in depth, in thickness, in weight, in character, but always a unity." KRAFFT is composed with the help of the computer program TTM (Textural Transformation Machine), developed by the Friedl to sculpture multiple random processes. It has been programmed by Sukandar Kartadinata.
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