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Forced Exposure New Releases for the Week of 1/11/21

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New music is due from Marcia Bassett and Thomas Dimuzio, Cristian Vogel, and Russell Haswell, while old music is due from Frank Bretschneider and Taylor Deupree, Jim Haynes, and Starfuckers.


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PRICE: $23.50
ANIMALS, THE Ready Steady Go! LP
The weekend starts here. That was the invite you would get when we tuned in to the best music show in the UK, nay, in the world every Friday evening from August 9, 1963 to December 23, 1966. The LP you have in your hands contains 13 tracks from the Animals on RSG, from 1965 and 1966, an interview with Eric Burdon and three tracks from the Richmond Jazz & Blues Festival in August 1965. For the latter occasion the boys had supplemented their stage presence by brass and horn players -- with several being British jazzers of some repute -- and had christened the new ensemble, The Animals Big Band. The Big Band "extras" appear again on the opening tracks of this album, "Let The Good Times Roll" and "Talkin' Bout You" and demonstrate that the experiment worked superbly. No British band has ever sounded this close to an American black jump blues outfit before.
PRICE: $26.00
CAT #: TSC 011R-LP
RZA Ghost Dog: The Way Of The Samurai (Original Motion Picture Score) (Red Vinyl) LP
LP version. Red vinyl version. "Ghost Dog - Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan."
PRICE: $26.00
CAT #: TSC 011W-LP
RZA Ghost Dog: The Way Of The Samurai (Original Motion Picture Score) (White Vinyl) LP
LP version. White vinyl version. "Ghost Dog - Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan."
PRICE: $29.00
MCQUEEN, SAM Dreams In Sepia 2x12"
Sam McQueen (Indio co-producer with John Beltran) presents his debut album Dreams In Sepia for Mojuba sub-label, a.r.t.less, and delivers a real-time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dancefloor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020. The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced-out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms. Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early '90s UK techno, a warmth and delicateness that pervades a distinct lack of four-four dancefloor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid '90s Berlin sounds from Basic Channel/Rhythm & Sound, but in lockdown. The sounds often familiar, analog, the drums, hi-hats, and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them. Cover artwork by Kilian Eng; hand-numbered.
N 074LP
PRICE: $25.50
CAT #: N 074LP
VA Hallo Zayaendo LP
In 2016, the Japanese duo Tenniscoats (Saya and Takashi Ueno) visited Munich for the first time to play at the Alien Disko Festival, invited by the band the Notwist. In the Japanese-Bavarian bar Nomina, Saya and Ueno listened and joined the acoustic brass-string-combo Hochzeitskapelle (Markus Acher and his brother Micha are also members), who use to play in between people in restaurants, on the street, on boats, etc... but only on a real stage, if they have to. Inspired by this evening, Saya founded the brass-band Zayaendo back home in Tokyo, together with her friend Satomi Endo, who plays the soprano-saxophone. They started to play in parks, forests and bars, and many friends joined, making them a collective with up to 20 musicians. Some of the members are also composers and contribute their compositions. In 2018, the collective came to Munich, and joined the Alien Disko festival. In 2019, they invited the Hochzeitskapelle to play with them on a two-week-tour to japan. When they returned to Munich after this for the 2019-edition of the festival, their Munich friends organized a welcome-surprise-party for them, playing one evening only cover-versions of Zayaendo-songs. Taking part were the Hochzeitskapelle joined by Kofelgschroa-acoordion-player Maxi-Pongratz, the experimental duo Schnitt, who play with a vinyl-cutting-machine, trumpet and bass-clarinet, Joasihno alias Cico Beck (Notwist) with his music-machines, the duo of Munich-based Japanese pianist Sachiko Hara and clarinetist and composer Christoph Reiserer, and a school-big-band led by g.rag-trumpet-player Alois Schmelz, who excited everybody by beautifully singing one song in Japanese. They played Zayaendo-compositions from the album Zayaendo Music (N 073LP). Every band had recorded their cover-versions at the rehearsals... just to give as a souvenir to the Zayaendo-members... but as this is such a wonderful and special compilation and just beautiful songs, Alien Transistor decided to make a small, limited vinyl-edition of this as well for others to hear. And traditionally, this has of course to be housed in a screen-printed jacket by master Señor Burns, numbered and individually colored.
PRICE: $30.50
CAT #: AZLP 2001LP
FAR EAST FAMILY BAND Nipponjin - Join Our Mental Phase Sound LP
Aozura present a reissue of Far East Family Band's Nipponjin - Join Our Mental Phase Sound, originally released in 1975. Regarded by many as the first Japanese progressive rock group, the Far East Family Band featured the keyboardist and future new age composer, Kitaro. A keyboard-dominated space rock band, the Far East Family Band played extended compositions that brought comparisons to Tangerine Dream and early Pink Floyd. Nipponjin, the band's second album under their new name (the trio changed their name from Far Out to Far East Family Band following the release of Nihonjin which appeared on the Denon label in 1973) following, featured re-recorded material from the previous, The Cave Down To Earth as well as Nihonjin and was produced by Tangerine Dream's Klaus Schulze. The band's synthesizer-drenched sound had much to do with the meeting of keyboard player and soon to be new age composer Kitaro's meeting with Schultz during a trip to Europe. One of Japan's earliest prog bands, Far East Family became hugely popular in Japan and also achieved considerable attention in Europe too. The group went on to release two further albums, Parallel World (1976) and Tenkeyin (1977) but it is Kitaro who enjoyed lasting fame for his legendary Silk Road albums. No.14 on Julian Cope's list of top Japanese albums. Digitally remastered. Highly collectable. 180 gram vinyl; orange color vinyl; hand-numbered sleeve.
PRICE: $20.00
KAWABATA & RG ROUGH, MAKOTO Makoto Kawabata & RG Rough LP
A collaboration between Makoto Kawabata (leader of the legendary Japanese psychedelic band, Acid Mothers Temple) and the French/British multi-instrumentalist RG Rough. The pair create an unsettling sonic jungle in which Makoto's guitar drones multiply, intertwine, and collide with a wide variety of electronic and concrete sounds and percussion. On two occasions a soft, sleepy sounding voice comes out of nowhere and whispers a strange lullaby which soon disappears under a cascade of strings or fades into a repetitive minimal piano figure... Personnel: Makoto Kawabata - electric guitar; RG Rough - electronics.
PRICE: $20.00
PINHAS/HELDON, RICHARD The Venue: Live in London 1982 LP
The last show by this particular Richard Pinhas/Heldon line-up, live in London in 1982, featuring, among others, Magma members Patrick Gauthier, Bernard Paganotti, Clement Bailly, as well as Jean-Philippe Goude (Weidorje). This is a historical document recorded live from the audience which captures an exceptional evening and a great concert. Heldon is undoubtedly one of the most innovative and influential bands in French electronic rock music. This record was produced by Richard Pinhas himself.
BB 364CD
PRICE: $17.00
CAT #: BB 364CD
Viennese artist Conny Frischauf's music is a whirl of kraut, left-field electronica, and synth pop. She playfully shines a new light on tradition to create a fresh, contemporary sound. Having released a brace of EPs -- Effekt & Emotion (International Major Label, 2018) and Affekt & Tradition (KHR 003EP, 2019) -- Frischauf now presents her debut album, Die Drift. The sheer immediacy of the album owes much to Frischauf's aptitude for integrating experimental sound structures into the microcosm of a pop song. A work of sonic depth, the record marries free music with irresistible pop appeal. Sam Irl, musician and engineer, takes on co-production, mixing, and mastering duties. "Es geht rauf, rauf, rauf" -- this single line heralds the journey which is about to begin, one on which Conny Frischauf's voice functions as a GPS: a rhythmic, chirping instrument interacting with electronic drum machine grooves, using language as sound to carry words, disorienting material which enhances the overall associative impact. Texts which go beyond narration, opening up perspectives, locations confusions. Inside is outside is in-between, right, left, front, back, until you don't know whether you're coming or going. An endless drift, as the album title announces, the constant movement of waves generating currents on the water's surface. Frischauf deploys a wide range of instruments, adding a wealth of color whilst balancing her playful approach with unfailing transparency, each element clearly arranged to create a particular sound. The complexity of simplicity. Sounds shimmer like kaleidoscopic reflections in a rush of echo loops, yet these are never used for mere effect, instead they represent careful brushstrokes on the broader fabric. All ten tracks on the album share an almost random, economically sketched intensity of effect, mirrored in Anna Weisser's cover art. Everything comes together on the closing track of the album, "Freundschaft" -- in the end, friendship. Waves ripple outwards like a mantra, still in motion as they dissolve. All you have to do is let yourself fall in.
BB 364LP
PRICE: $22.00
CAT #: BB 364LP
LP version. Viennese artist Conny Frischauf's music is a whirl of kraut, left-field electronica, and synth pop. She playfully shines a new light on tradition to create a fresh, contemporary sound. Having released a brace of EPs -- Effekt & Emotion (International Major Label, 2018) and Affekt & Tradition (KHR 003EP, 2019) -- Frischauf now presents her debut album, Die Drift. The sheer immediacy of the album owes much to Frischauf's aptitude for integrating experimental sound structures into the microcosm of a pop song. A work of sonic depth, the record marries free music with irresistible pop appeal. Sam Irl, musician and engineer, takes on co-production, mixing, and mastering duties. "Es geht rauf, rauf, rauf" -- this single line heralds the journey which is about to begin, one on which Conny Frischauf's voice functions as a GPS: a rhythmic, chirping instrument interacting with electronic drum machine grooves, using language as sound to carry words, disorienting material which enhances the overall associative impact. Texts which go beyond narration, opening up perspectives, locations confusions. Inside is outside is in-between, right, left, front, back, until you don't know whether you're coming or going. An endless drift, as the album title announces, the constant movement of waves generating currents on the water's surface. Frischauf deploys a wide range of instruments, adding a wealth of color whilst balancing her playful approach with unfailing transparency, each element clearly arranged to create a particular sound. The complexity of simplicity. Sounds shimmer like kaleidoscopic reflections in a rush of echo loops, yet these are never used for mere effect, instead they represent careful brushstrokes on the broader fabric. All ten tracks on the album share an almost random, economically sketched intensity of effect, mirrored in Anna Weisser's cover art. Everything comes together on the closing track of the album, "Freundschaft" -- in the end, friendship. Waves ripple outwards like a mantra, still in motion as they dissolve. All you have to do is let yourself fall in.
PRICE: $18.00
CAT #: CAM 014EP
COLDREAMS Eyes/Morning Rain 7"
Long time sought-after French post-punk/cold wave 7" finally get an official reissue with remastered sound and artwork. We all have lost memories and dreams, shattered hopes we hide to people and try to live with. Like the feeling of missing someone you've cherished in the past but who doesn't need you anymore. This obsessive melancholia infuses the two tracks of this now highly sought-after record, while haunting lyrics and subtle production definitely set them apart from their contemporaries. Coldreams was a French female fronted post-punk band hailing from Clermont-Ferrand. Instead of cold wave, it might best be called melancholic pop. Reissue, limited edition of 500.
PRICE: $23.50
CAT #: CAM 016LP
YORAN Montparnasse 12"
First reissue of this long-time sought-after Japanese experimental gem from the '80s. A walk in Paris somewhere between the '30s and the '50s made by a Japanese lost soul. Montparnasse by Yoran is a surreal journey into an era which has maybe existed but long gone. A melancholic fantasy about a time you'll never know and can only smell the atmosphere. Memories and flashes come from an ancient time, cobbled streets where heels crack far away surrounded by the tickle of a street musician, a classical dance class directed by some piano notes or an announcement from an old train station. The cryptic French spoken-word infuses the extracts and sound collages taken from different French movies looped into a broken tape player. The result is one of the most mysterious and looked after Japanese '80s underground record. This reissue is pressed for the first time on 12" at 45RPM. Remastered, limited edition of 500.
PRICE: $27.50
CAT #: CAM 017LP
NUTS & CO Kangourou LP
First reissue of this arty synth-pop French gem from Nuts & Co, ephemeral self-produced project. Inspired by Dadaism, ancient tribes and natural life they self-produced and released this album in 1982. The result is a blend of experimental synth-pop combined with some German spoken-word and French madness. For sure "Semite" with its shamanic percussions will get your attention but other synth oddities include "La Vie des Animaux", "Auf Dem Lande", and "Kangourou" too. If you're into French arty synth-pop of Dancing, Nuit de Chine, and Der Spiegel, this is for you. Remastered; edition of 300.
PRICE: $21.00
CAT #: DOC 143LP
2020 restock. Doxy present Ennio Morricone's complete soundtrack for the 1961 film Il Federale ("The Fascist") on vinyl for the first time. This soundtrack written by a young Morricone for Luciano Salce's Il Federale starring Ugo Tognazzi, is a music jewel containing many elements so typical of his later style that he has developed and matured during his incredible career; this score is important from a historical point of view since it represents Morricone's absolute first film scoring assignment. First time complete edition on vinyl. Edition of 500.
PRICE: $31.00
VA Beats On Boat Vol. 1 2LP
Beats On Boat Vol. 1 is a double-LP with six nationalities, eight artists, and sixteen tracks with FloFilz, Made in M, Melodiesinfonie, Juan RIOS, Hazy Year, Lunchbag (aka Theo Spazzatura), illiterate (aka Les Geddit), and iamalex. The compilation accompanies the YouTube series which can be watched on our website: All the artists involved have one track on each vinyl, celebrating their musical diversity. The first vinyl will be the sound you know and love of theirs. The second -- will be the world premiere for the majority of the musicians featured -- taking a step out of their comfort zone into house, disco or their individual interpretations of those genres. We set sail last summer to unite some of the best producers we know and came back with hours of dope sets and a 16-track double vinyl containing a lot of firsts -- not only for the label but also for most artists aboard -- the C & D side are full of world premieres. 180 gram vinyl; edition of 400.
EG 001LP
PRICE: $22.00
CAT #: EG 001LP
LP version. An unearthed treasure from the '70s Italian avant garde archives! A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a one-off Italian-American all-star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi. Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document! Additional booklet contains extensive liner notes and photos.
PRICE: $23.00
In retrospection, it seems significant that Reinhold Friedl and Eryck Abecassis met for the first time in Marseille, a brute and operatic melting pot of cultures and sounds and noises. They idea of a common project came up, but it took almost ten years to be realized. Finally, François Bonnet (GRM artistic director) supported enthusiastically the collaboration and invited the two composer-performer to the Akousma Festival 2019 at Radio France in Paris. Intense rehearsal periods in Vienna and at la muse en circuit in Paris defined the compositional directions: precise transitions between accurately defined musical states: the raw furious energy textures of "animal électrique 1" and "5", the contrasted calm with shaking fog horns "à la Lucier" of "animal électrique 3" and "6", noise and notes in the astonishing fusion of "animal électrique 2" (which could also be titled "Tsunami and minor thirds"), and finally the delicate non-tempered vocality of both piano and synthesizer in "animal électrique 4", a detuned operatic aria. Animal Électrique is a melting point of piano and synthesizer, both put into musical travesty: the piano becomes a sound and noise machine, with strong electronic influence; the analog synthesizer starts to sing and to hoot, producing raw and brutal instrument-like sounds, in line with brute electronic synthesis. This allows Eryck Abecassis and Reinhold Friedl to combine the exigence of composing with the instant pleasures of the game. Personnel: Reinhold Friedl - piano; Eryck Abecassis - analog synthesizer. Recorded by Grégory Joubert at Studio Luc Ferrari, La Muse en Circuit, CNCM, Paris, France, June 2019. Mixed by Eryck Abecassis. Mastered by Russell Haswell. Cut by Andreas Kauffelt at Schnitstelle, Berlin.
PRICE: $31.00
Coventry's most notorious export celebrates 50 years of existence with an expansive new set on Editions Mego. Spread across two x vinyls (LP and 12"). Please note the 12" tracks are exclusive and do not appear on the digital release. Having spent decades carving out his very particular niche which takes influence from a vast range of extreme music this is Russell's nostalgic nod to his influences whilst forging onwards with his perpetually unforeseen experience. Working in a variety of media over decades Russell Haswell's belligerence towards his craft and critique of others has allowed him to operate in a zone outside of peers. As daunting as it is refreshing Haswell's output is always on the very edge of genre. 2001 saw the release of his first audio documentation with Live Salvage 1997?2000 (MEGO 012CD), a compact disc that compiled a series of ferocious live performances. Paradoxically precise and reckless, Haswell's music has an uneasy relationship with the predictable but acknowledges being birthed from a variety of 20th Century radical forms such as metal, noise, electro-acoustic, power electronics, and techno. Haswell's ongoing output resides as a continuously in-flux, inquisitive and predominantly improvised exploration of the extreme limits of machine-based art. Haswell has never been a "studio artist" or "producer". 12" channels the original role of the medium with two tracks of beats that present themselves in unpredictable ways. 12" also features the head shattering bonus cut, "Always Check Their Instagram". LP cut at 33rpm allows explorations into broader territories with deep ambience running into twisted acid and splattered shapes bouncing amongst rapid fire rhythms. This set is both a celebration of new forms whilst making many a sly nod to nostalgic influence throughout. LP+12" is an unexpected experience from one of contemporary music's most ruthlessly exhilarating and uncompromising figures. Raise a glass and listen LOUD. NOTE: The tracks on 12" are exclusive to the format not available on any digital format. Recorded December 2019-February 2020. Mastered: March 2020. Used = ADDAC Systems, ALM/Busy Circuits, Cwejman, Epoc Modular, Expert Sleepers, FANCYYYYY Synthesis, flight of harmony, Make Noise, Tiptop Audio...
PRICE: $26.50
FILM release the debut LP from Denial Of Service. The album follows up EPs Sensou (FILM 003EP, 2015), and more recently Contour & Shape (FILM 007EP, 2017) -- but marks the producer's most expansive release on the label thus far by some margin. Clocking in at 15 tracks, the lengthy opus draws from the same palette found on previous work -- drum machine driven, heavily mutated electro and IDM sit alongside low-slung techno cuts and arpeggiated EBM references. As ever, the production is stunning -- crisp and plosive, as much a record for the club as it is a tempered headphone experience; whilst the mood channels that same dank, claustrophobic energy found on previous missives. As a body of work, the LP displays the distinctive touch of a production veteran. The transformative shifts in structure on "A Fine, New Mother Now" belie a kind of boldness found less often across the contemporary electronic music landscape; and the drum programming on IDM-leaning explorations "Autoimmune" abd "SuperCell" bear the hallmarks of a perfectionist with time on his hands and in full control of his art. Space and the placement of sonic components plays a huge role in the artist's work and "The 3 Stigmata of Palmer Eldritch" displays this canny knack for generating both textural, wide angle soundscapes whilst maintaining that wrought-iron edge to drums and percussive elements -- even more fervent, noisy compositions like "Dr Manahattan" manage to keep hold of this remarkable balance. It's impressive stuff, a fine and well worked meeting point between artistic vision and engineering prowess. An elongated discussion, no doubt -- but worth hearing every word. Each twist and bend, however sharp, remains carefully placed and beautifully recorded. Dryer works "Slither" and "Junkie Foxtrot" offer a less introspective, more hard-hitting angle to the work, and by the time the listener arrives at dual closer "The Daisy Chain - Adults" -- they're ready for its heady catharsis. The debut album from Denial of Service is a trip, and the line between club space and home listening environment is decidedly blurred -- an emotive exploration of true psychedelic electronica, delivered direct from the source.
EG 000EP
PRICE: $12.50
CAT #: EG 000EP
A cult band and pioneers of industrial music, Esplendor Geométrico were one of the first cases of true independence in the history of Spanish music. Not only financial and organizational, but also creative independence. This first single, "Necrosis En La Poya" (1981), was self-produced and distributed by the band themselves, before the appearance of the Spanish independent record labels in the early '80s. After receiving the needed funds from an enigmatic fan who decided to help out the release, a tiny run of 500 copies was pressed and quickly flew off the shelves. The iconic yet disturbing cover artwork surely shocked the regular clients at the few Madrid shops that were willing to stock the release but thankfully also managed to catch the attention of the emerging European scene of DIY experimental sounds and most of the copies found their way into the network of independent distributors. Without a doubt this is one of the fundamental works by Esplendor Geométrico, where they started to develop their unique style of industrial music which would be such a great influence on other artists afterwards. Necrosis En La Poya is regarded by their fans as one of the best records ever made by the band and shows EG's shift towards harsher industrial rhythms. After years unavailable, and previously officially reissued as part of the Esplendor Geométrico's box only, here it is the legit reissue of one the most sought-after Spanish records, remastered from the original tapes.
GET 51318LP
PRICE: $25.00
CAT #: GET 51318LP
2021 repress; clear transparent vinyl. "Future archaeologists will discuss two periods in 1980s: before Run-D.M.C. and after Run-D.M.C. It's no exaggeration to say that the group changed the course of music in the '80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic. Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run was, at one time, a DJ known as 'Son of Kurtis Blow') and Blow's bassist and burgeoning super-producer Larry Smith, the trio -- Joseph 'Run' Simmons, Darryl 'DMC' McDaniels and Jason 'Jam Master Jay' Mizell -- learned from the best, but created their own path. 1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, 'Sucker M.C.s (Krush-Groove 1)' was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers and music aficionados around the world by storm. The song's lyrics are a mandatory memorization assignment to this day by MCs learning their craft. 'Two years ago, a friend of mine...' The group's sound, which was laid out muscularly on Run-D.M.C. (1984), had a harder approach than their peers, thanks to producer Larry Smith's use of live musicians who laid down grooves but didn't soften the edges. Lyrically the group wasn't just about brags either, with songs like 'Hard Times,' 'It's Like That' and 'Wake Up' (the first two were singles). Run's and DMC's overlapping tag-team approach to lyricism was powerful and immensely influential. 'Rock Box,' another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first worldwide smash, 1985's 'King Of Rock.' Jam Master Jay's DJ work was stellar, knowing exactly when to jump in and put listeners' ears in a headlock. The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started -- their next two LPs would take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it's a classic that still sounds fresh today as it did more than 30 years ago."
GET 51320LP
PRICE: $25.00
CAT #: GET 51320LP
RUN-DMC Tougher Than Leather LP
2021 repress on translucent blue vinyl. "Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game -- Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic -- chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] -- get lost in their crates. For starters, the album's first single, 'Run's House' b/w 'Beats To The Rhyme' is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called 'turntablism' a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, 'Mary, Mary,' driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like 'Walk This Way,' the song wasn't just bubblegum -- there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. 'Papa Crazy,' driven in concept and by a sample from the Temptations' 'Papa Was A Rolling Stone,' followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like 'Radio Station' they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. 'Tougher Than Leather' reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And 'They Call Us Run-DMC' and 'Soul To Rock And Roll' both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!"
PRICE: $20.00
CAT #: HJP 081LP
2020 restock. 2x12" version. Shackleton and Ernersto Tomasini present Devotional Songs. Devotional Songs is Shackleton's most expansive, ecstatic and hallucinatory music to date. Four long-form pieces developing the free-flowing compositional aesthetic of his recent Deliverance series (2014-2015) and Powerplant performances: fiery rhythmic-melodic turbulence channeling Congotronics way to the east - with an aura of restrained mania reminiscent of the feral pomp and gallows humor of Coil's "moon-musick" phase - all earthed by dub-wise bass. The pairing with Ernesto Tomasini - the cult singer, performer and artist whose history spans experimental theatre, cabaret and collaborations with Othon, Marc Almond, Sleazy, Julia Kent and David Tibet among many others - is a match made in heaven. With his four-octave voice swooping from deep growl to piercing falsetto, Tomasini's presence both heightens the taste for the theatrical that's always been integral to Shackleton's music, and makes explicit the latter's kinship to the occult energies of the UK's post-industrial underground. As the record's title suggests, these are shadowy songs rich with allusions to bodily ritual and psychic exploration, with Tomasini's lyrics framed by luminous whirls of hand-struck drums and synthetic gamelan, bells and tumbling organ melodies. "You Are The One" escalates from delicate choral chant to full-bore psychedelic organ freak-out. "Rinse Out All Contaminants" is a slow incantation, to purge all negative thoughts. The melodies of "Father You Have Left Me" are smudged like early Steve Reich, then burned out by snarling subs; and the magnificent "Twelve Shared Addictions" balances elliptical melodies like spinning plates, gradually unfurling into a break-neck storm of voice and hammered keys. A remarkable collaboration that hints towards new emerging futures for Shackleton, a pioneer in electronic sound and rhythm.
PRICE: $23.50
CAT #: HJR 010LP
VA Son Cubano NYC: Cuban Roots New York Spices 1972-82 2LP
2020 restock. "Almost all of the Afro-Cuban music in this compilation fell under the new marketing category 'salsa' (up till then it would have been simply called Latin music), and its cradle was New York City, where the tradition flourished amidst the constant mix of ethnicities and so many styles of music. It was inevitable that Afro-Cuban music would proliferate in new genres reflecting its new home. Afro-Cuban jazz was born in New York City, through the amalgamating creativity of musicians like Chano Pozo, Machito, Duke Ellington and Dizzy Gillespie. ... The recordings on Son Cubano NYC were made over the decade beginning 1972, for the new Salsoul and SAR labels and their sisters Mericana and Guajiro. For the trumpeter Chocolate, the music has 'broader harmonies and touches of jazz phrasing, but never leaves the raices and cinquillo... Cuban music is natural -- its essence is its raices [roots]'. For the singer Henry Fiol, 'New York salsa is a hybrid. When Cuban music moved to New York it added another flavour.' Latin music was exploding in the City. You could hear deejays like Polito Vega playing on the radio at any time of day; you could go dancing any night of the week, throughout the boros, at clubs like Corsos, Casablanca, Bronx Casino, Ochentas, Club Cabrojena, Carlos Ortiz' Tropicana, Hunts Point Palace. And yet -- held back because of the unmistakable Cuban personality of its music -- 'the success of SAR was due mainly to word of mouth', as co-founder Sergio Bofill recalls. ... This was still the period of the Cold War -- when Eddie Palmieri was accused of 'communist salsa' for his song 'Mozambique' (which isn't even salsa) -- and the radio stations did their bit to suppress Cuban culture. Within a few years -- by the mid-80s -- New York salsa was becoming stagnant: 'boring and monotonous', in the words of historian Max Salazar; for Charlie Palmieri, 'Europeanized' in its disavowal of improvisation. The music-making on this album was dismissed as old-fashioned. Actually -- in the glory of its long, flowing, rootsy forms, in the irresistible spell it casts on dancers everywhere -- it is timeless." Includes tracks by Rey Roig y su Sensacion, Charlie Rodriguez y su Conjunto, Alfredo "Chocolate" Armenteros, Henry Fiol, Lita Branda, Roberto Torres, Los Jimanguas, Fernando Lavoy y los Soneros, and Angelo y su Conjunto Modelo.
PRICE: $23.50
CAT #: HJR 034LP
ALLEN, TONY Lagos Shake: A Tony Allen Chop Up 2LP
2LP version, with great gatefold sleeve packaging. 2008 release, vinyl version includes two bonus tracks by Terrence Parker and Wajeed. Two years ago, Honest Jon's travelled to Lagos with the great drummer Tony Allen, to make his first recordings there since his time with Fela Kuti -- an album entitled Lagos No Shaking, a classic of contemporary Afrobeat. Since then, the label has widely commissioned numerous responses to those new sides: from legends of dance music culture like Basic Channel in Berlin, for example, and founding father of Detroit techno, Carl Craig; and young tigers like Dizzee Rascal's Newham Generals, MIA producer Diplo in Baltimore, and carioca sensations Bonde Do Role from Rio De Janeiro. There are also new recordings from Cairo, Saturn, Bogota and Kingston, Jamaica -- fresh interpretations or complete reworkings by the space jazz pioneer Salah Ragab, a street brass band descended from Sun Ra's Arkestra, highlife-inspired Afro-Colombian drummers from the village of San Palenque De Basilio, and a veteran of Count Ossie's Mystic Revelation Of Rastafari. Afrobeat, dub, jazz, chalupa, electro, highlife, techno, grime, carioca, champeta and funk from all corners, fizzing away together here... it could only be from Honest Jon's.
HC 020CD
PRICE: $11.00
CAT #: HC 020CD
BLO Step Three CD
Reduced price, last copies. Hot Casa Records is proud to present this Holy Grail of Afro-Funk and rare gem from the '70s Lagos music scene. Reissued for the first time outside Nigeria, including an interview and photos of the original band members. The three core BLO band's members were "B" for Berkely "Ike" Jones on guitar, "L" for Laolu, "Akins" Akintobi on drums, and "O" for Mike "Gbenga" Odumosu on bass. BLO was formed just as a trio in late 1972 and split up in 1982. They developed their music on tour before they recorded their first album, Chapter One in 1973 on EMI Records. They built something unique, original and different than any other young African group at the time, blending rock with its African roots and transmuting it into soul-fusion. They left an indelible impression on the Nigerian music scene and became an institution for worldwide music lovers. From Clusters to Afrocollection alongside with the Lijadu Sisters, they'd been involved in many various acts. They also toured with Ginger Baker, the famous English drummer of both power trio Cream and Salt, whose influence has been considered by Laolu Akins as "another major player in the development of BLO." After their highly inspiring worldwide tour with Salt, leading them from Munich's Olympic Jazz Festival to the USA, BLO decided to work on their own concept album with the main ingredients of Afro, rock and dance. Immediately preceding their disco period, Step Three is a real and beautiful definition of Afro soul music.
HC 021CD
PRICE: $11.00
CAT #: HC 021CD
VA Ivory Coast Soul 2: Afro Soul in Abidjan from 1976 to 1981 2CD
Reduced price, last copies. Ivory Coast Soul is back in its second volume, and Djamel Hammadi aka Afrobrazilero and DJ Julien Lebrun have dug even deeper into the country's vinyl archives. After much painstaking research and investigative work, Hot Casa has gathered together some key members of seminal Afro and psychedelic outfits, selecting 14 Afro-soul gems, centered mainly on the musically-rich and creatively-volatile Republic of the Ivory Coast during the '70s. Despite the fact that the country has recently lived through an unfortunate civil war, with deep sociopolitical crisis and instability and strong FRCI Visa checkpoints, Hot Casa has worked even harder with the help of local friends to find the rarest and most interesting records. Last but not least, after many new trips, from the Abobo "Baghdad "area, Yopougon to Bouaké to Akoupé and Jacqueville, Hot Casa also had to find their original producers or heir-producers, to finalize the licensing process. This new volume highlights some extraordinary music and immense talent working in a variety of styles and approaches. The Ivory Coast gained its independence from France on August 7th 1960 and became a republic with a strong executive power, personified in the son of a Baoulé chief, Felix Houphouët-Boigny. It has quickly become the musical center of West Africa, attracting musicians from across the continent. The borders with Liberia, Guinea, Mali, Burkina Faso, and Ghana made the country, and especially Abidjan, the crossroads of millions of cultures and diasporas. This compilation represents an amazing period, when urban music transcended tribe conception, and when Pan-Africanism wasn't simply a word, but a real philosophy and musical adventure. This 2CD is presented with a full-color 24-page booklet, including historical information written by Ivorian historian Anicet Boka.
PRICE: $25.50
2020 relist, last copies; black vinyl. Monstrance documents Mika Vainio and Joachim Nordwall reshaping guitars, drums, and incendiary electronics at Einstürzende Neubauten's Berlin studio back in 2010. The results were originally issued by Touch in 2013 with this new double-LP edition arriving on Nordwall's iDEAL Recordings label five years later as a posthumous tribute and reminder of his erstwhile collaborator. It's one of Vainio's most crucial and absorbing collaborations; moving away from ice-cold electronic precision and into a more visceral re-rendering of metal. In a sort of fantasy regression imbued with the spirit of their shared heroes -- Einstürzende Neubauten -- Mika returns to the instruments he cut his teeth on way back in the '80s, manning electric guitar, drums, and effects, while Nordwall takes control of electronics, electric bass, Hammond organ, and vibraphone, with both arriving at a mutually primal conclusion of distortion and fiercely charged electro-acoustic air. The first side's "Alloy Ceremony" comes on like an Earth death march (especially if played at 33rpm), before the furnace blast of "Live At The Chrome Cathedral" settles to the sepulchral croaks of "Midas In Reverse'. In the second part, the duo communicate in reverberant, hollow knocks, and guttural bass waves on "Irkutsk", leading to a moment of raw, staggering poignancy with the shimmering primitivism of "Praseodymium", leading each other in acres of negative space, with needled strings creating a fine tension that dissolves into the funereal, floating tones of "In The Sheltering Sanctus Of Minerals" in a sort of blue, etheric and almost ecclesiastic resolution. All the track titles allude to metal (in the material sense), which gives you a firm sense of the hard, grey tonal palette the duo worked with. But Nordwall and Vainio generate such an impressive array of music out of this ascetic approach that we can't really think of much in either of their extensive repertoires that sounds much like the hour of music they created here. It's one of Vainio's most impressive and unique collaborations outside of Pan Sonic, an essential exploration of silence and noise. Mika Vainio: Electric guitar, effects and percussion; Joachim Nordwall; Electronics, bass, organ and vibraphone. New artwork by Philip Marshall. Mastered at EMS, Stockholm by Daniel Karlsson.
PRICE: $20.00
The album Balance by Frank Bretschneider and Taylor Deupree was originally released in 2002 by Mille Plateaux on CD only. The nine tracks on Balance are a perfect example for the aesthetics to arise within the click & cuts scene and (ambient-)glitch music movement of the late '90s and early 2000s. The two masters of microscopic sounds and sine wave/white noise-based music constructed these seamlessly mixed pieces around rhythms and melodies, which grants the album plenty of dynamics. The wide variety of carefully chosen ambient sounds throughout the whole work endows Balance warmth and intimacy. The recordings are now available for the first time on vinyl within the KeplarRev series, presented in a new updated artwork based on the original layout with photographs by Taylor Deupree. Includes download code; edition of 500.From the original press release in 2002: "Balance is the first [and so far only] collaborative release from Frank Bretschneider (Berlin) and Taylor Deupree (Brooklyn). Both of these artists are no strangers to the ears of many; Taylor Deupree is one of New York's most vibrant electronic producers. From his early techno days as a member of Prototype 909 to his current status as one of N. America's key 'microscopic" electronic composers and to add runs the prestigious 12K and LINE labels. Frank Bretschneider is a key member and founder of the prestigious Raster Music label, he has critically acclaimed releases under the names Komet and Produkt. It's easy to say that Frank Bretschneider has created some of the most influential spatial electronics of the late '90s. Utilizing both artists keen ears for carefully crafted sounds, Balance blends the clean sine wave/white noise of Bretschneider with the defined grit of Deupree's granular synthesis. Realized entirely on Nord Modular synthesizers, Bretschneider and Deupree exchanged patch files through email and began constructing foundation loops. Bretschneider then created initial mixes of 9 songs and then sent them to Deupree who remixed and re-processed them. This digital exchange allowed for them to work using their own methods and aesthetic while combining the similarities of each other's interests. The result is a looping and churning rhythmic work that is both synthetic, warm, dubby, and tonally challenging. Thus Balance creates an engaging balance between the two artists aesthetics."
KH 9086LP
PRICE: $25.50
CAT #: KH 9086LP
ZAPPA, FRANK Live In Sweden 1967 LP
2020 repress. Frank Zappa, live at the Konserthuset, Stockholm, Sweden on September 30th, 1967. In the last week of September 1967, Frank Zappa and the Mothers played a week of shows in Europe. This remarkable performance, broadcast from the Konserthuset in Stockholm, Sweden on national FM radio, features favorites such as "It Can't Happen Here" from Freak Out! (1966), "Big Leg Emma" (which had recently appeared as a 45 in Sweden), and an epic rendition of "King Kong" (in its first known live recording), as well as a couple of Elvis classics. The entire broadcast is presented here, digitally remastered, together with background notes and images.
PRICE: $37.50
BIONAUT, THE Everybody's Kissing Everyone LP
The story's been told before, though perhaps it hasn't been documented as well as it should have been: a group of young producers in Germany were knocked out by acid tracks, and in particular, the UK's acid house moment, convinced by the way it negotiated pop's pleasure and dancing's drive. Across the turn of the decade, The Bionaut's Jörg Burger, alongside friends and peers Wolfgang Voigt, Ingmar Koch, Cem Oral, Andreas Bolz, and Gregor Luttermann, would produce a dizzying number of tracks under a mountain of pseudonyms. 1992 was a turning point for Burger. Moving between Frankfurt and Cologne, Burger produced Everybody's Kissing Everyone with one eye on the dancefloor, the other on the lounge room. The productions from these fruitful sessions share a glam pop element, even at their most supine, with Burger returning to his pop roots. This was a running theme across the '90s, as he released a stretch of pop-electronica albums and EPs as The Bionaut and The Modernist. Vivid and welcoming, precision-tooled for the dancefloor, dewy-eyed and humbly melancholy, The Bionaut's productions manage to make risk and experimentation welcoming, joyous -- the inverse of so much studious experimental music. Talking about his productions as The Bionaut, Burger uses the term "metapop" to explain his music, and that's a perfect way of thinking about what he does -- it's at once pop and beyond pop, with a knowingness that gleefully ransacks pop's history. You can hear, in the seven tracks on Everybody's Kissing Everyone, reflections of UK acid house, the spiraling squelch of Chicago acid tracks, the lilting lightness of pop-trance, but the connecting force is a lushness of tone and richness of melody that points forward to the pop-tronica of later Bionaut. Here, Burger takes a snapshot of that precise middle-point between the dancefloor and the bedroom and colors it in both primaries and pastels. It's a most elegant swoon. Includes liner notes. Includes download code with two unreleased bonus tracks. Yellow marbled vinyl.
LMS 5521348
PRICE: $18.00
CAT #: LMS 5521348
SHAKESPEARS SISTER You're History Remixes 12"
New and classic remixes of the 1980s hit "You're History" by Shakespears Sister, on vinyl for the first time. Includes the new remix by Cats 'N Dogz plus much sought-after original remix by Brothers In Rhythm.
CR 9108LP
PRICE: $24.00
CAT #: CR 9108LP
"Superbly constructed pop psychedelia c. 1968, performed by some of the best musicians in the world! First commercial release of any kind and in any format of these recordings. Comes with an 8-page booklet with photos and detailed information of the creation of this rarity. Lion Productions and Lysergic Sound Distributors are excited to announce they have solved the mystery of this magical recording: it is the work of the iconic Wrecking Crew and other famed musicians of the era -- assembled by Grammy-winning composer Allyn Ferguson -- and recorded over four sessions in the summer of 1968. Wrecking Crew members participating on the album are: Hal Blaine on drums, Howard Roberts on electric guitar, Bill Pitman on electric bass, Al Casey on electric guitar, Chuck Berghofer on standup bass, and Dick Hyde on trombone; Emil Richards on percussion, and John Pisano on guitar. Other notables appearing on the album are Pete Jolly and Lincoln Mayorga on piano, and future Byrds' drummer John Guerin. The twelve songs that are presented here for the first time as a commercial vinyl release have been remastered from the original studio tapes, provided by the Ferguson family. This historic reissue also includes an 8-page booklet with heretofore unknown information and pictures, including copies of the union contracts from the original recording sessions and a color print of the original proposed album cover."
PRICE: $25.50
LEILA Like Weather LP/7"
LP version. Includes 7". When you make a record that doesn't conform, expect to divide opinion. Like Weather was released in 1998, on Rephlex -- run by Grant Wilson Claridge and Richard D James -- an often great label that had a following largely made up of Aphex-logo wearing fanboys who couldn't quite deal with electronic music made by a girl -- let alone one that used vocals. Everything those lads couldn't fathom about Like Weather is essentially what makes it untouchable; one of the greatest, most effortlessly esoteric pop albums ever made, not in the lineage of IDM or trip-hop, genres it has so often been awkwardly lumped in with, but something else that can't quite be categorized -- even 22 years later. Like Weather echoes the world-building energy of Prince's Sign "O" The Times (1987) -- every track is a self-contained universe all its own, there are no rules or conventions -- it's full of hooks, but also insular as fuck, the production is all over the place and it still sounds like nothing else (although if you're into the Mica Levi-produced Tirzah album (2018), know that this here is the aesthetic, spiritual blueprint). It feels analog, then digital -- it's R&B, but also baroque music box, drone pop, experimental, electronic, junglist -- attempting to define it is like trying to cup mercury in the palm of your hands; it'll just find something else to slide into. Newly remastered by Rashad Becker; cut by Lupo.
MR 397LP
PRICE: $26.50
CAT #: MR 397LP
WARSAW PAKT Needle Time LP/7"
Munster Records present the first vinyl reissue of Warsaw Pakt's Needle Time, originally released in 1977. "Real high-energy rock'n'roll in its most potent form is best captured live and in the moment. Maximum thrills, minimum frills. In 1977, London's Warsaw Pakt took that premise one step further, recording their album live, straight through, direct to the cutting lathe -- no tape master, no overdubs, no mixing. The record was pressed, packed, and shipped overnight and was in the record stores the following day . . . 'The idea was to bypass tape and gain a very accurate recording that would be louder and clearer than any other method then available,' remembers guitarist Andy Colquhoun. If the recording method was motivated by an element of gimmickry, no matter, the blazing urgency of the band's performance, combined with a set of edgy, memorable songs makes Needle Time one of the most exciting releases of the '70s punk era. It's also one of the most neglected. The Pakt favored a high-revving formula with hard-boiled street-smart lyrics delivered quick and cool against super-charged Chuck Berry guitar licks, a modus operandi much like the MC5 circa Back in the USA, but with a vibe that was more attuned to the pubs and squats of their native Ladbroke Grove. Though given a punk rock paint job, the sound is redolent with the fumes of high-octane British R&B, a dead giveaway of their roots, as The Rockets. Along with some choice cover versions, like The Who's 'It's Not True', they looked to the old Rockets songbook and retooled material written by Andy with the Rockets' old manager Frank Day, including some great songs like 'Fruit Machine', 'Dogfight', 'Speeding', and 'Sick n' Tired'. Although R&B based, these tracks all had plenty of attitude and aggression, so worked well in their new 'punkier' context. 'Safe and Warm' was recorded as the single in October 1977, and in the studio the band created a uniquely moody, almost psychedelic sound, Coull laying down a soulful vocal over Colquhuon's screaming guitar lines and Manly's supporting rhythm licks, while some strikingly eerie harmony back-ups add a magical finishing touch. A month later, Warsaw Pakt assembled at Trident Studios to record their 'Instant Album'. Less than 24 hours later, with the band's fingers still bleeding, Needle Time was released . . . More than forty years later, though, Needle Time stands as one of the most authentic documents of the lean, visceral sound of London punk rock in its banner year." --Mike Stax, Ugly Things Magazine Includes 7". Includes insert with extensive liner notes by Mike Stax (Ugly Things Magazine) and individually hand customized record cover.
PRICE: $26.50
Pat Thomas is one of the most extraordinary pianists of our time. In a first-time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert's poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts' ecstatic vocalizations. The trio of improvised pieces which make up the record's first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and color for Robert's song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings. The second side, a whole part in itself, goes deeper -- hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity. Personnel: Pat Thomas - piano; Matana Roberts - alto saxophone. Housed in a screen printed kraftboard sleeve. Photographs by Dawid Laskowski and Fabio Luguro; Design and layout by Maja Larrson. Recorded by James Dunn live at Cafe OTO on December 8th, 2018. Mixed by James Dunn. Mastered by Giuessepe Ielesi. 180 gram vinyl.
PRICE: $20.00
CAT #: PFM 107LP
LAUGHTON, GAIL Harps of the Ancient Temples LP
Pleasure For Music present a reissue of Gail Laughton's Harps of the Ancient Temples, originally released in 1969. Gail Laughton, born Denzil Gail Laughton (1921-1985), was an American jazz harpist. He worked in Hollywood, playing on many film and cartoon soundtracks. Originally released in 1969 on the small imprint Rapture the record has been produced by famous sound engineer Paul Beaver (Beaver & Krause, Lalo Schifrin & Orchestra) the man who introduced the Moog to Stevie Wonder and Frank Zappa. Standing on the verge of both modern classical and space age, the record featured the track "Pompeii 76 A.D." as heard on the movie Blade Runner (1982). Gail Laughton can easily be considered a forerunner of new age, as documented on the highly influential compilation I Am The Center: Private Issue New Age Music In America, 1950-1990 assembled by project manager Patrick McCarthy for Seattle based Light In The Attic. "The shimmering, ethereal quality of the harp sings out under [his] loving care."
RAD 7011LP
PRICE: $22.00
CAT #: RAD 7011LP
South London blues-rock band Killing Floor was formed in the late 1960s with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin, and percussionist Bas Smith, with Muddy Waters their foremost inspiration. After an eponymous debut album produced by former music writer John Edward, issued by the independent Spark label (and licensed to Sire in the US), Killing Floor was signed by Larry Page, who placed follow-up LP Out Of Uranus on Penny Farthing, again with Edward in the producer's chair. In contrast to the debut LP, Out Of Uranus had heavy acid rock and psychedelic leanings, as heard on the anti-religion title track and songs like "Acid Bean", though "Where Nobody Ever Goes" was more in standard blues-rock mode. As was the case with several other Page projects from the period, poor album sales made the release a true rarity, its scarcity keeping it in high demand today. Original artwork in gatefold sleeve, licensed by original rights owner Larry Page Productions.
RAD 8015LP
PRICE: $23.50
CAT #: RAD 8015LP
Hailing from the small, conservative market town of Huntingdon in Cambridgeshire, The Charlottes rose from the ashes of a short-lived band called The Giant Polar Bears; before that, bassist David Fletcher had been in Red Over White, guitarist Graham Gargiulo had played in Mithrandir while drummer Simon Scott would eventually end up in Slowdive; early vocalist John Lindsell was replaced by Petra Roddis. Their debut single, "Are You Happy Now", issued on the short-lived local independent, Moleworth Records, was in melodic power-pop mode; debut album Lovehappy was recorded in Bristol and released by Martin Whitehead's Subway Organization in August 1989, to rave reviews. Championed by John Peel, it showcased their evolving "Wall of Guitar" sound, moving away from the tamer pop beginnings. Follow-up EP Love In The Emptiness showed continued growth, the song constructions becoming more complex and layered, and when the group signed to Cherry Red in 1990, the single Liar began making waves in America, though the group somehow split right at this high-water mark; thankfully, the EP and single are both included on our expanded Lovehappy reissue. 180 gram vinyl.
PRICE: $29.00
CAT #: RRS 079C-LP
VA Beach Blvd 2LP
Influential independent label, Posh Boy, helped the southern California punk scene to gain traction in the late '70s and early '80s through a series of releases by then-unknown bands. The legendary 1979 compilation Beach Blvd referenced Route 39, a highway that connected the label's various artists, located in suburbs from Huntingdon Beach up to the San Gabriel Valley. Rosemead's Simpletones were one of the first melodic punk acts; Huntingdon Beach's The Crowd drew from surf rock and hardcore in equal measure, while the material credited to Rik L Rik are actually remixes of demos he cut with Negative Trend, now with bass overdubs by Simpletones guitarist Jay Lansford, who also cut lead guitar on "Atomic Lawn". This ultra-expanded, double vinyl reissue features 17 bonus tracks of Simpletones and The Crowd material, as well as live material from Rik L Rik's first group, the legendary F-Word!, and the two only known tracks recorded by The Klan, the short-lived quartet fronted by Simpletones vocalist, Richard "Snickers" Scott. Includes updated liner notes. Yellow and turquoise vinyl; gatefold sleeve; edition of 700.
PRICE: $12.00
CAT #: FFL 061EP
Two years after having recorded Aurora, which Gérard Terronès released on his Futura Records label in 1971, the Théâtre du Chêne Noir put on another show, Miss Madona, first at Avignon, and then at Ariane Mnouchkine's Théâtre du Soleil. From this play, Gérard Gelas's group took three sound extracts which they made, with no further ado, into a single. Miss Madona is thus the second recording by Théâtre du Chêne Noir. The two sides (and three tracks) offer up an unbelievable instrumental theater with something of a white magic ritual about it. The actors, so much better for the record, were also musicians; alongside Miss Madona, ex-star of the circus and now idol, were the piano and electric organ of Daniel Dublet, the saxophones of Pierre Surtel and Jean-Louis Canaud, and the trumpet of Gilbert Say. But there are also the vocals of Beatrice Le Thierry, Bénédicte Maulet, Jean Paul Chazalon, Monik Lamy, Nicole Aubiat... which added to the mystery of what happened on stage. The sound of this particular theater is reminiscent as much of John Coltrane as of Ravi Shankar, Pierre Henry or the Art Ensemble of Chicago. There are voices from beyond the grave, inspirational for future musicians: Steven Stapleton, for example who included Théâtre du Chêne Noir in his Nurse With Wound List. Souffle Continu re-release this single, which is rare in more ways than one. First ever vinyl reissue. Remastered from the master tapes. Licensed from Le Théâtre du Chêne Noir.
PRICE: $29.00
MASSONI W/ SONIC BOOM, JOHN The Sundowner Sessions LP
Originally recorded in Seattle, in 2000 and released on CD only later the same year, The Sundowner Sessions is a recording featuring John Massoni (electronics) and Sonic Boom (custom human voice synthesizer). "[Sonic} can make something out of almost anything. He'd just pick out a tape of mine (I have a bunch of tapes with sound and drone experiments), and work something into a piece. His focus and ability not to be undermined by the limits surrounding him is really amazing to watch. We worked well into the night -- thus The Sundowner Sessions were born." --John Massoni. Remastered by John Rivers at Woodbine Street Studio. Not previously released on vinyl. Army green heavyweight 180 gram audiophile vinyl LP.
PRICE: $20.00
Spittle Records present a reissue of Artery's Oceans, originally released in 1982. Formed in Sheffield in 1978 and originally known as just The, Artery is a band that saw several changes in the line-up throughout the '80s. Supported by John Peel and often compared to Joy Division, their music incorporates various fundamental elements of the British post-punk aesthetic. Originally released in 1982 on Red Flame, Oceans was Artery's debut mini-LP including some absolute gems such as "Into The Garden" and "Afterwards" infectious anthemic tracks of the post-punk era.
PRICE: $20.00
STARFUCKERS The Eternal Soundcheck LP
Starfuckers: one of the most elusive and provocative Italian experimental rock bands of the '90s. The title of this new and previously unreleased album comes as a quote from Lydia Lunch when at one of their concerts, she commented: "It sounds like an eternal soundcheck." Recorded live between 9th and 10th of April 1999, The Eternal Soundcheck consists of just one sound portion from a six hours long concert held at "Link" in Bologna, one of the most important Italian underground clubs of the time. This was some sort of conceptual piece specially conceived for the "Distorsonie" festival. An extremely intense performance based on the idea of liberation of sound and physical exhaustion. Originally meant to be released on Drunken Fish records, eventually, the original tapes got irreversibly damaged, and the music contained in this album is the only surviving portion. About forty minutes of ongoing performance, no editing, no overdubs, just pure, irreverent Starfuckers sound art performed by the core group of Manuele Giannini (guitar, echoplex, vocals), Alessandro Bocci (synth, sampler, turntable, effects), and Roberto Bertacchini (drums).
PRICE: $22.00
CAT #: SSR 054LP
IMPALERS Cellar Dweller LP
Back in print on limited yellow vinyl. "Gasp, choke, puke, roll, die, live again. Ten songs to destruction, ten songs to live, ten songs that wrap up all the velocity and disturbance beneath planet earth. Impalers have Sweden in their back pocket, the U S of A dripping down the back of their legs, and use the designs that Anti-Cimex and Discard laid out to mop up the mess. There are other words to describe this blessed mess, but they become insufficient by the time the last track rolls around. In this case, Cellar Dweller can only be described as a party that you've been invited to but that you might not make it out of alive. Full color, hellish and hilarious poster insert by Mason Tucker, and sterile, alienating, squint-to-focus-on-the-horror cover by the steamroller talent J.S. Aurelius." --J. Falco
PRICE: $25.50
PUPILLO, MASSIMO The Black Iron Prison LP
Italy's occult experimentalist Massimo Pupillo releases his solo debut album The Black Iron Prison via Subsound Records. Known for his experimental jazz metal project Zu, Massimo Pupillo has collaborated with numerous heavyweights over the years, including Mike Patton (Faith No More), Buzz Osborne (The Melvins), Thurston Moore, and Jim O'Rourke. The Black Iron Prison is a somber meditation and rumination inspired by the Gnostics, Philip K. Dick, and the alchemical maps of Nigredo. "As the world is unveiled, and the storm is upon us."
PRICE: $31.00
PUPILLO, MASSIMO The Black Iron Prison (Smoky Vinyl) LP
LP version. Smoky vinyl. Italy's occult experimentalist Massimo Pupillo releases his solo debut album The Black Iron Prison via Subsound Records. Known for his experimental jazz metal project Zu, Massimo Pupillo has collaborated with numerous heavyweights over the years, including Mike Patton (Faith No More), Buzz Osborne (The Melvins), Thurston Moore, and Jim O'Rourke. The Black Iron Prison is a somber meditation and rumination inspired by the Gnostics, Philip K. Dick, and the alchemical maps of Nigredo. "As the world is unveiled, and the storm is upon us."
SBR 5108LP
PRICE: $31.00
CAT #: SBR 5108LP
SHINN, DON Departures LP/7"
Sunbeam Records present the first official reissue of Don Shinn's second and final album, Departures, originally released in 1969. Departureswas made in London's Lansdowne Studios only a few months after his classic debut. Featuring a more jazzy and experimental side to his remarkable organ playing (a clear influence on the young Keith Emerson) and a band including jazz legend Stan Tracey, it's presented here fifty years after its first release. It comes complete with detailed background notes, rare images and three newly recorded bonus tracks that make it clear that the maestro has lost none of his touch. 180 gram black vinyl; hand-numbered flipback sleeve with 12pp full-colour booklet; 7" record in picture sleeve."Don Shinn got a fantastic sound from the L-100... He and Jimi Hendrix were controlling influences over the way I developed..." --Keith Emerson
SBR 5109LP
PRICE: $31.00
CAT #: SBR 5109LP
Sunbeam Records present the first ever vinyl reissue of Wizz Jones's self-titled release, originally released in 1969. An undisputed giant of modern folk and one of the finest acoustic guitarists Britain has ever produced, Wizz Jones has been cited as an influence by stars including Rod Stewart and Keith Richards, and received a Lifetime Achievement Award at the BBC Folk Awards in 2019. His first solo LP appeared 50 years earlier, and receives its first-ever reissue here. A beguiling mixture of standards and originals with his outstanding playing to the fore throughout, it's unlike anything else he ever recorded. It's presented here in both its mono and stereo mixes, together with an insert containing background notes and rare images, and a repro shop flier from the original time of release. 180 gram black vinyl; hand-numbered flipback sleeve with 2pp full color insert; includes CD and repro shop flier.
SBR 5110LP
PRICE: $38.50
CAT #: SBR 5110LP
Sunbeam Records present a reissue of Raw Material's self-titled release, originally released in 1970. Raw Material made little impact on the crowded London scene in the late '60s and early '70s, but their blend of prog, psych, and jazz has gone on to become a firm favorite with cognoscenti all over the world. Their classic debut album was originally issued in October 1970, and receives its definitive reissue with this deluxe double-LP. As well as the full album, it features both sides of all three singles they'd made to date, as well as the whole of the Sounds Progressive LP they'd released under a pseudonym. The set comes in a gatefold sleeve and includes a packed large-format booklet offering detailed background notes (drawing on original interviews) and copious photos and promo materials, as well as a reproduction of the promo poster sent to a few UK record shops at the time. Double, 180 gram vinyl; hand-numbered gatefold sleeve; 16-page, full-color booklet and repro A3 poster.
PRICE: $11.00
CAT #: TTW 135CS
APIARY Apiary Cassette
Formed in Chicago in 2009, Apiary brought together four of that city's most versatile and prolific musicians: David Daniell (guitar), Steven Hess (drums), Joseph Clayton Mills (electronics), and Jason Stein (bass clarinet). Together, Apiary interwove disparate strands of Chicago's improvised music community, seamlessly incorporating their influences -- ranging from jazz to minimalism to noise -- into a whole that was dense and hypnotic. Having developed a reputation for the intensity of their live performances, Apiary entered the studio in the spring of 2010 in an attempt to document their unique sound. These recordings, uncovered and revisited a decade later, have lost none of their power or immediacy. If anything, the intervening years provide a sense of perspective and insight into how vital Apiary's music -- grounded in collaboration and possibility -- remains. Apiary was reworked and brought to completion in 2020; it provides a fascinating window into a crucial moment in Chicago's musical history, one that still vibrates with startling urgency. Recorded by Nick Broste on May 9th, 2010, at Strobe Recording Studio, Chicago, IL. Edited and mixed by Joseph Clayton Mills and David Daniell. Mastered by Helge Sten at Audio Virus Lab. Illustration: SavX. Cassette only in an edition of 100.
PRICE: $11.00
CAT #: TTW 136CS
TRINOVANTES Hidden Codes Cassette
Trinovantes is a new collaboration between old friends Franz Kirmann and Stuart Bowditch, who originally met in 2007 at the Multivitamins events in Shoreditch. The body of work on Hidden Codes employs a new approach. Songs by metal bands were interpreted by algorithmic functions into MIDI. The extracted data was then edited and played through a variety of software and synthesizers to generate warm, ambient layers that, whilst removed from the original songs, retains a sentiment of the original ideas. The layers were then arranged and further processed to form new pieces. Since Stuart Bowditch first started making music in his teens his sound has transitioned from drumming in grindcore, death metal, and punk bands to experiments in sampling, programming, improvisation, noise, and field recordings. He is inquisitive and unconventional, exploiting objects and spaces not normally associated with making music such as tea cups, bridges, and sculptures. Sounds extracted from these objects are then processed, arranged, mutated, and spliced together into indeterminate forms of unexpected rhythms and textures. Bowditch has played live extensively including venues such as Cafe Oto, Iklectik, Tate Britain, Focal Point Gallery Southend, Hadleigh Old Fire Station and Fuse Gallery Bradford. Franz Kirmann is a French music producer and recording artist based in London. He has been releasing music since 2006, both as a solo artist and with composer/multi-instrumentalist Tom Hodge with their electronic/post-classical crossover project Piano Interrupted. Aside from his production work Franz runs the electronic dance music label Days Of Being Wild, that he started in 2009 with partner Sam Berdah. Artwork: Roman Gamaury. Cassette only in an edition of 100.
PRICE: $11.00
CAT #: TTW 137CS
HAYNES, JIM Shortwave Radio Recordings On MiniDisc (2001-2012) Cassette
"I acquired my first shortwave radio back in 1998 or 1999. Living in San Francisco at that time, I found a wealth of signals being broadcast from across the Pacific towards the US. This was before cellphones became ubiquitous, so the radio spectrum was relatively free of interference, even living in a city. I quickly found that when I got out of any urban environment, I could receive more signals and with better clarity. So with every opportunity for travel, I took a shortwave. By 2000, I had upgraded by then to a smaller Grundig portable with a wind-up antenna and a MiniDisc recorder in tow. I held out acquiring a flash-drive digital recorded until the summer of 2012, with the technology of the MiniDisc already obsolete by then. This collection represents some of the more interesting finds from that collection of MiniDisc recordings." --Jim Haynes, Northern California, August 19, 2020 Artwork: Venoztks. Cassette only in an edition of 100.
PRICE: $11.00
CAT #: TTW 139CS
VENOZTKS How It's Not Meant To Be Cassette
Many hours were spent surfing the airwaves, with often surprising results... No synths were used during the making of this album. The mysteries of the ether continue to enthrall and provide. Illustration: Bana Haffar, "The Map is Not the Territory". Cassette only in an edition of 100.
PRICE: $18.00
CAT #: WHO 015EP
VOGEL, CRISTIAN Mind Control 12"
What is Mind Control? Making people believe by shaping what they hear; a sonata for the age of acceleration morphosis; a music born under punches. Play at any required speed. Cristian Vogel is a life-long innovator in the design, composition and performance of electronic sounds. His independent career in music and audio technology has won prizes and awards establishing him as an outstanding influence in the field of composition for studio, club culture and stage. He performs, remixes and produces original music and sound design at an international level. He has lived in Brighton, Barcelona, Berlin and Geneva and is now permanently based in Copenhagen where he continues creating technologically based music, sound and audio technology at his design studios Ekometic and NeverEngineLabs. Artwork: Federico Gargaglione. Limited edition of 250.
TDP 54016LP
PRICE: $21.00
CAT #: TDP 54016LP
Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones's solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach's "I'll Never Fall In Love Again" and credible renditions of Aretha's "You Make Me Feel Like A Natural Woman" and Jackie DeShannon's "Put A Little Love In Your Heart". Includes one bonus track. 180 gram, green vinyl.
TDP 54021LP
PRICE: $21.00
CAT #: TDP 54021LP
EMERALD WEB Valley Of The Birds LP
A rarefied blend of vintage synthesizers and acoustic instruments, the Valley Of The Birds album by Emerald Web was created in 1981 by two pioneers in electronic music, space music, and audio technology, Bob Stohl and Kat Epple. Originally recorded and composed in their 4-track, reel-to-reel home studio, they created their signature thickly-layered timbres by serving as recording engineers, and simultaneously playing an array of monophonic synthesizers, flutes, other acoustic instruments, and Lyricons. The Lyricon Electronic Wind Instrument is a remarkable hybrid synthesizer/woodwind instrument that uses additive synthesis, and a bass clarinet mouthpiece. The album liner notes, written by Kat Epple, lists music instruments and recounts some of the band's experiences in 1981, in the San Francisco Bay Area where the couple lived. 180 gram vinyl; Gatefold sleeve; edition of 500.
TDP 54022LP
PRICE: $21.00
CAT #: TDP 54022LP
Obscure rock group Nite People was formed in 1964 in the southern English town of Poole by drummer/singer, Chris "Fergy" Ferguson; later, guitarist Jimmy Shipstone joined (as Jimmy Warwick), along with organist Barry Curtis and Jimmy's brother Francis on bass (as Francis Gordon). Following inconsequential singles for Fontana, with bassist Scott Kirkpatrick, the group signed to Larry Page's Page One. P.M., issued in 1970, showed heavier leanings and although originals "Funky Hoe" and "P.M." were captivating, the album probably had too many covers, though the driving cut of The Four Tops' "Reach Out" was certainly unique. Page also had the group record as The Banana Bunch, before the final split. 180 gram, orange vinyl.
TDP 54023LP
PRICE: $25.50
CAT #: TDP 54023LP
Obscure yet outstanding '80s Italian outfit Implosion released one album in 1988, combining space rock, prog, psychedelia, and proto-electronics. This limited edition, double-LP set contains 16 previously unreleased tracks originally recorded between 1983 and 1989. Digitally remixed and remastered in 2020 from the master analog tapes. Limited super-deluxe, double-LP; gatefold sleeve with lyrics and detailed liner notes.
PRICE: $25.00
"Alfredito 'Sabor' Linares is a globetrotting pianist, composer, bandleader, and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William 'Quantic' Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and '80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary El Combo de Pepe album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as 'salsa' with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, El Pito, and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations . . . That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes, and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was 'open-ended, some musicians came some days, others on other days -- Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre.' Though the recordings were cut 'live in the studio' and many were basically composed on the spot, the intrinsic strength and maturity of the performances on Yo Traigo Boogaloo stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela..." --Pablo E Yglesias DJ Bongohead of Peace & Rhythm
PRICE: $25.00
Vinilisssimo present a reissue of Luiz Eça Y La Familia's La Nueva Onda del Brasil, originally released in 1970.Tamba Trio (Helcio Milito, Bebeto Castilho, and Luiz Eça) released their first LP in 1962 and quickly became one of the most popular bossa jazz combos out of Brazil. By the mid-60s the band would expand becoming Tamba 4 and Luiz Eça would record his first albums as a leader. Trained as a classical pianist, Eça's style was a mix of jazz and pop then blended into bossa resulting in a fresh and unique sound that evolved over the years towards an even more eclectic blend. La Nueva Onda del Brasil was recorded in 1970 by Luiz Eça accompanied here by La Familia Sagrada, a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Zeca do Trombone, Mauricio Maestro, Claudio Roditi... even Wilson Simonal joins the group on Jorge Ben's "Pais Tropical". The album was released years later on the tiny Mexican label RVV, run by Rogelio Villareal, also home to the very rare LPs by Primo Quinteto or Rozana in a similar vein. Villareal was the owner of the Camino Real hotels group and the RVV records were exclusively available for sale at the hotels premises, as souvenirs for visitors. The band spent some periods of time touring Mexico, performing at different Camino Real locations. The album distribution was very limited and never got a local release in their native Brazil (or anywhere else) making this LP a very sought-after record that has reached cult status among Brazilian music collectors Worldwide. La Nueva Onda del Brasil includes both standards and originals, all performed in a very free style, an outstanding mix of energetic arrangements and delicate vocal harmonies, a sort of very late and evolved bossa mixed with jazz, emphasizing the rhythmic elements with an Afrosamba twist. A samba jazz masterpiece. Facsimile artwork and remastered sound. 180 gram vinyl.
PRICE: $20.00
Wewantsounds present the reissue of Ryuichi Sakamoto's third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Hidari Ude No Yume was recorded at the legendary Alfa Studio "A" in Tokyo during the Summer of 1981. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of... in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In 1981, Sakamoto decided to record an album rooted in pop and he invited British producer Robin Scott to co-produce. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. From the funk of "Relâché" to the new wave feel of "Venezia" and the ambient minimalism of "Slat Dance," the album is remarkably consistent while displaying a wealth of global influences. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, "Saru No Ie" and "Living In The Dark" were completely dropped while three others, "Relâché", "Tell 'em To Me", "Venezia" were heavily remodeled with English lyrics and different names. Last but not least, a new English-sung track, "The Arrangement," was added, making the album nine tracks instead of ten for the Japanese edition. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Four-page insert with new introduction by journalist Anton Spice.
PRICE: $31.00
Sidney Lumet's masterpiece Serpico released in 1973 is one of the most iconic movies of the '70s. Featuring a career-defining performance by Al Pacino in the title role, it's a superb neo noir encapsulating the post-Watergate mood of the early '70s. The film's soundtrack by Mikis Theodorakis is equally stunning. Composed by Greek musician and arranged by cult jazz pianist Bob James, it is a superb blend of funky instrumental and traditional melodies reminiscent of The Godfather OST. The soundtrack didn't have an easy start. To begin with, Sidney Lumet didn't want any music for the film, which, he thought, was self-sufficient. However, under the pressure of producer Dino de Laurentiis, he finally bowed and agreed to hire a composer. Lumet thought about Mikis Theodorakis who had famously penned the classic score for Zorba The Greek. The composer was just out of jail in Greece for political activism and was busy preparing a North American tour but he duly accepted the task. However, he said he could only compose the music and not perform it. Lumet agreed and turned to Quincy Jones for advice, the musician having scored Lumet's film The Deadly Affair in 1966. Jones recommended a young pianist and arranger named Bob James he had worked with, who could help put Theodorakis's composition into recorded music. James was hired on the spot to arrange the score and oversee the recording sessions adding a few cues in the process. The result is a stunning masterwork taking Theodorakis's great themes and reworking them in a skillful mix of traditional arrangements and cool jazz-funk tracks like "Honest Cop" and the stunningly funky "On The Streets". James doesn't remember much of the session players he says in the interview he gave for Wewantsounds' release, but they would have included the usual jazz funk suspects who were playing on his CTI sessions. Newly remastered from the original tapes by Colorsound Studio in Paris. Features a stunning gatefold designed by American illustrator Eric Adrian Lee including authoritative notes by British film and music critic Jason Wood with an insightful Bob James interview reminiscing about the production of this superb soundtrack.
PRICE: $31.00
CAT #: YEW 013LP
Marcia Bassett and Thomas Dimuzio create a mind-bending synthesis of sound and place on their debut LP Losing Circles. Get ready for a head trip, the album is a sublime manifestation of sound interference, texture, and ultra, low-end synth waves that literally penetrate the listener's body. The pair bonded over their Buchla systems, first meeting at Thomas's radio show, Frequency Modulation Radio at KFPA, Berkeley, California where they had their initial improv jam. Their second meeting, documented here on, Losing Circles, was recorded at the historical revival style Williamsburg Library. While the classic Buchla sound is identifiable on the recordings, it does not define the recordings. Shortwave voices appear and disrupt, lose themselves in the multiplicity of patterns, random frequencies erupt into a whirlwind of frenzied staccato scratches dissipating into fragmentary dimensions. At one sublime peak a distant cacophony of sirens awaken the senses to place -- the sound meshes into the electronics as the music takes the cue into a more foreboding tone. Conscious and unconscious meet bearing an asymmetric modulation of movement. A collective imagination held in sound abstraction slowly unfurls in a low-end bloom of steady gradual alteration, a vast deep cavernous drone of subtle control. The added bonus is the stunning trance inducing op-art by Pete Greening on the cover that will have listeners Losing Circles! Edition of 200.
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