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Forced Exposure New Releases for the Week of 3/29/21

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New music is due from Chris Corsano & Bill Orcutt, Mats Erlandsson, and Dntel, while old music is due from Melvins, Whitehouse, and Sola.

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PRICE: $14.00
2021 restock. As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a definitive double-album, Powers Of Ten. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes. The 12", simply called Acid Test 15, features a remix from Plasmic Eddy.
PRICE: $19.00
CAT #: ALP 185CD
2021 restock. "Peter & Peeter have once again joined spirits and forces, picking up where their trio with Peter Friis-Nielsen left off -- this time as a reeds-n'-drums duo delivering a blowout double-CD -- whose only remote competition in the field understandably comes from Messrs. Vandermark & Nilssen-Love's two-man implosion unit, Dual Pleasure. A fresh double-dose of soul-purge from free men, presented in a Brötz art-brute package. From Uuskyla's liner notes: 'The liferoad of the one life you have. Been fighting all the time for playing untouchable sounds of simple music. My definition of beauty. Untouchable, therefore powerful, simple, therefore universal, for everyone. But you are notable to keep it only yourself, that's the strength. No amplification, not even monitor speakers or headphones needed for this duo. The punch and the scream -- the foundation of natural music-making!'"
PRICE: $15.00
CAT #: ALP 230CD
2021 restock. "At last, the reissue of German saxophonist Peter Brötzmann's long out-of-print first record, one of the most auspicious debuts of free music, and a trenchant tribute to the inventor of the saxophone. For Adolphe Sax is a roundhouse punch of European free jazz, delivered in1967 by the saxophonist's first classic trio featuring drummer Sven-Ake Johansson and bassist Peter Kowald. Initially issued in a tiny private run on Brötzmann's own BRO label -- silkscreened cover designed by Brötzmann, with hand-stamped inner record labels -- it was later reissued on FMP as one of the earliest in the Berlin-based label's extensive, essential catalogue. The Unheard Music Series has lovingly remastered For Adolphe Sax from the original tapes, and the package includes a plump gallery of period photos from Brötzmann's personal collection. In addition to the original music, the CD is augmented by a never-released nine-minute track, recorded in the studios of Radio Bremen, which adds Belgian pianist Fred van Hove to the trio; in a way, this group give a hint of the transition from Brötzmann's initial threesome with Johansson and Kowald to the next working trio with Van Hove and drummer Han Bennink."
PRICE: $29.00
SOLA Un Muneco De Madera LP
Be With Records present a reissue of Sola's Un Muñeco De Madera, originally released in 1971. Originally released on RCA in Mexico, it's kaleidoscopic Acapulcan-funk. The album's endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the '60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul. The LP was written, arranged, and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the '60s, '70s, and '80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It's said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record. Much-loved single and title-track "Un Muñeco De Madera" opens the album. It introduces us to Sola's sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It's followed by the serene but melancholic bossa groove of "Oye Mamá, Oye Papá" and the strings and guitar of "He Bajado Al Infierno" that hold up vocals reaching for an eternal truth. With full-on soundtrack-y feels, the rolling keys underpinning the Morricone-esque soundscape of "En Ellos Creo" will give you goosebumps. The gorgeous "Soy Rebelde" ("I'm Rebellious"), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment. Perhaps Sola's most well-known track, the exotic bossa of "Tabu, Tabu", is a formidable groove. Elegant bongos, prominent bass, delicate acoustics, and a persistent flute blend with Sola's unique voice; sinuous, sassy, and forceful at the same time. The stunning "La Última Palabra", while not literally the album's last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players. If you hadn't decided already, the final two tracks that are the funk-fueled "Bada-Bada-Ba" and the horn-heavy percussive masterclass "Únete A Mi" will leave you in no doubt that this is one very special record. Mastered by Simon Francis, cut by Pete Norman. Remastered from the original tapes.
PRICE: $29.00
MOORE, STEVE Analog Sensitivity (KPM) LP
When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialize. And so it does with Analog Sensitivity: cinematic, enigmatic synth scapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock, and under his own name. Rather than being commissioned by KPM, Analog Sensitivity comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. After Jon Tye invited him to play on the Ocean Moon project for KPM, Steve realized that the hallowed library label might be the perfect home for what he had been working on. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity. The LP opens with the dystopian electronic minimalism of "Eldborg", its dark synth bass unfolding to ominous synth pads, shadowy sustains, and glistening arpeggios. "At The Edge Of Perception" brings an unsettling retro-future of edgy analog leads and desolate FX. The sound of a robotic core tears through the sparse textures of the enigmatic "Rose Of Charon". A chilling breeze blows through a persistent, hypnotic synth sequence on "Time Freeze". Title track "Analog Sensitivity" is a sparkling transcendental synth scape of melody, drones, and celestial synth. The brooding "Behind The Waterfall" winds down the first side, building subtle strings and a desolate sound beneath its haunting organ. "Mirror Mountain" ushers in side two, its woozy bass and arpeggio unfolding to envelop the muffled, muted echoes of its organic leads. "Syzygy" emerges you in bubbling sequences, airiness, and ambient electric guitar tones. It's followed by the cinematic minimalism of "Pentagram Of Venus" and its trickling FX. The wind swirls through the otherworldly "Of Dust Thou Art" kicking up clouds of unsettling, plodding synth sequences leading to the uneasy atmosphere of "Message From The Beast". Closing track "Urge Surfing" is as cool a climax as you'd hope from something so brilliantly titled, riding along hushed waves of brooding electronics. Mastering by Simon Francis, cut by Pete Norman, pressed in the Netherlands by Record Industry.
BCD 17575CD
PRICE: $20.00
CAT #: BCD 17575CD
"A double CD with recordings by Rev. Robert Ballinger kicks off the new gospel CD series on Bear Family! Mostly with a trio, accompanied by bass and drums, the pianist and singer recorded some of the most powerful blues-drenched gospel numbers in the 1950s and early '60s. Musically, the Reverend's vocals are more reminiscent of blues and R&B shouters than of traditional gospel singing in African-American houses of worship; as a pianist, he impresses with his extreme, pounding playing in the best barrelhouse tradition. Recordings for United, Chess, Artistic and Peacock. Extensive liner notes by Chicago author Bill Dahl, carefully remastered recordings. From the 1930s on, Chicago served as the nurturing cradle of modern gospel music, thanks to the incredibly prolific Thomas A. Dorsey and his small army of protégés, choirs, and choruses. Every so often, an outsider with his own concept crashed the Windy City's burgeoning gospel scene -- and sanctified evangelist Rev. Robert Ballinger's thundering musical vision was about as close to rock and roll as you could come while still working in service of the man above. Rev. Ballinger entered a Chicago recording studio for the first time in late 1952 under the auspices of United Records. The seven sides wouldn't see light of day until Delmark Records, now owner of the United's archives, featured five of the reverend's sides on a 1997 gospel CD. The piano-pounding Ballinger debuted in 1955 on Chess Records with an inspiring rendition of Sister Rosetta Tharpe's rollicking This Train as blues legend Willie Dixon applied thundering bass (Dixon dug it so much that he wrote My Babe around its chord changes and melody), then migrated over to Eli Toscano's Artistic logo in 1958 for another one-off single before cutting two wild early '60s albums for Don Robey's Peacock label -- and they're all on this compilation."
BB 363CD
PRICE: $17.00
CAT #: BB 363CD
"Ever since he released his music in the early '80s (1983, to be exact), Michel Banabila has been hard to pinpoint to a specific genre or style. His musical output includes jazz, experimental cut-up electronics, world music (especially influenced by the fourth world music as developed by Jon Hassell), new age, eclectic pop tunes, music for dance or other stage projects, and soundtracks for TV productions. Some listeners may have found it somewhat difficult throughout the years to find their way in this versatile output that includes very different genres. Because of this versatility Banabila has grown into one of the most fascinating musicians in Europe and was always highly acclaimed by critics, which was well deserved. Nevertheless -- for possibly that very same reason his work never came across the radar of most people, and that is something he does not deserve. When diving deeper into his output, one gets familiar with the trademark Banabila sound: his personal ways of using samples, the way he incorporates vocal fragments, the fact that there is always an emotional layer you can relate to, even in his most abstract works. Over the years, Banabila's work has progressed and evolved in different directions. It must be weird for any creative artist when the interest of new audiences (and labels) focuses on your earlier work - work that you have long left behind while exploring new directions. On the other hand: Whoever gets interested in your older work may also want to explore the newer stuff (which means they have almost forty years to explore, just imagine!). For this particular release, Bureau B chose a different approach. Instead of archiving early works from the 1980s, Wah-Wah Whispers focuses on Banabila's more recent output. It is a collection of works showcasing many facets of his music: a journey visiting the minimal and cinematic sample scape in the opener Take Me There, a robotic reggae-like rhythm ('Tic Tac'), contemplative ambient/fourth world scenes evolving into a downright funky beat ('Hidden Story'), the synth version of 'Secunde', and more. The album ends with a kaleidoscope of atmospheres gradually building up to a noise climax in 'Narita' (the only collaboration track on the album, with Rutger Zuydervelt/Machinefabriek). No single compilation album could really do justice to the massive scope of Banabila's output since 1983, but with Wah-Wah Whispers, Bureau B did a wonderful job to facilitate a view into his more recent work (2013- 2020, with the exception of 'Tic Tac', which is from 2001)." --Peter van Cooten
PRICE: $19.00
CAT #: BSR 936LP
"180 gram vinyl LP of Freddie's 1982 album recorded at Joe Gibbs studio."
CF 128CD
PRICE: $15.00
CAT #: CF 128CD
EXEK Biased Advice CD
"A weird trip of a band... the second this was playing I was immediately hooked. I initially dove in because their name was attached to Mikey Young for mastering (I have a rule with Mikey... if he had his hands on it, it's probably worth a listen). This band exceeds in all my trials. Esoteric nature, but oddly poppy and ready to prick up any ears out there. Deconstructed, but full of hooks. If I were a lazy man, and I am, I would say its for fans of PiL, but they transcend that pigeon-hole. Wonderful production lends its self to this unique LP. It seems as if the room expands and contracts throughout songs. Pulling away, then blocking your field of vision entirely. Wasteland funk. Dub from the depths. Punk from the pit. Even the instrumentation is worth mentioning: saxophone, drums (and cut-up drums), guitar, synthesizer, vocals (poetry) and general fuckery all combine to make this a very interesting and worthwhile escape from the average. And thank the Gods for that right now. Inspired and desired by the active mind. A job well done by EXEK, and there's new stuff brewing too... For fans of BEAK>, Phantom Band, PIL and general Jah Wobbleness, Magazine, short-wave radio, ESG and underground Kraut." --John Dwyer
CF 133LP
PRICE: $36.00
CAT #: CF 133LP
FALL, THE Live At St. Helens Technical College 1981 LP + 7"
"I've had the pleasure of being a [The] Fall fan since I was a teen. I was lucky enough to have some guidance from my local record shop stoner-lords. They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life. The word prolific gets tossed around a lot. It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn't have to do their self-imposed job of judging releases for the rabble. The Fall is subjected to this lazy word often. Yet I can honestly say that I am so thankful for any nugget of Fall that lands at my feet and in my brain. Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry. So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you. Recorded during one of the many strong points in the bands vast and mighty history. They really burn bright here and bring every ounce of what you expect from this formidable force. We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings and help piecing it all together. Castle Face will be donating 50% of our profits to Centrepoint, which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too. Nothing but the hits here folks and as raw as you dig it. This one really is exceptional in terms of live sound for The Fall. All the stars were aligned over St. Helens that eve. And it wouldn't be complete with a bit of Fall fan saltiness so, fuck you too, Jason." --John Dwyer
CF 135LP
PRICE: $18.00
CAT #: CF 135LP
LP version. "Walk the dog. Exercise. Make art. 'The mind is happy when the body is.' Things I can potentially fill my days with if I am stuck at home for months on end... Then, one day, I hear a frenetic, free drummer playing in his garage a few blocks from me. And I think 'interesting'. I stand outside his garage staring at the wall, like a fool, for a minute, then decide to leave a note on the car parked there. This is how I ended up meeting and working with Ted Byrnes. He wasn't creeped out, and he ended up sending me a pile of truly spontaneous drums recordings from the carport to work with. I decided to have every musician come in one at a time and just take a wild pass at their track over the drums. None of these people had ever met or played together. I was the connecting thread. I scratched the surface initially with electric bass, saxophone, guitars, cuica, synthesizers, flute and effects, but soon realized I would need heavy hitters to make this place habitable. Greg Coates, upright bass expressionist extraordinaire, hacked through the dense weeds, vines and frayed cabling. He lays the map out and makes breathing room. Space to swing a cat. Tom Dolas (keys), my often foil, came in and began tip-toeing through the rubble and refuse. Dotting the layout with flecks of light, flights of fancy and potential tangential trajectories. Then the finisher, Brad Caulkins on horns. As always, Brad came in like grace itself, scanned the floor for food, and huffed and puffed and blew the house down. He takes a bruiser situation and lends it some warmth and hospitality, old school. "After I spent a bit of time mixing and editing this down to a palatable offering I couldn't help but think about human consumption. ...Endless Garbage seemed a fitting title. A cacophonous and glorious sketch of ourselves. For fans of Albert Ayler, ECM records, Gong, improvisation, sustainability and consumption." --John Dwyer
DEL 75040LP
PRICE: $25.00
CAT #: DEL 75040LP
DELTRON 3030 Deltron 3030: The Instrumentals 2LP
2021 repress. "Deltron 3030 The Instrumentals is the sibling of Deltron 3030's legendary self-titled debut and an experience all its own. Since the record's release in 2000, Deltron 3030 has moved into the pantheon of greatest recordings of all time, of any genre. Del's Deltron Zero persona certainly has much to do with the release's setting in a dystopian future. But beyond that, and beyond the great guest appearances the foundation of that setting is the sonic landscape presented by Dan The Automator. The Instrumentals puts the focus on the mood forged by The Automator's soundscapes which create a listening experience often referred to as cinematic. Long out of print since its initial release in 2001, The Instrumentals return housed in a unique die-cut jacket with a full color obi rounding out the package. The result is a set that's visual appeal compliments the rich soundscape created by Dan The Automator."
PRICE: $26.50
YL HOOI Untitled LP
Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics, and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds. The album's final form speaks of its origins, recorded intermittently over a two-year period (2017-2019). The extended time passage seeps into the song structures, spiraling and mutating from the same center -- the elegiac pulse of opener "Title" presages the hymnal lilt of "Straight Thru", before birthing the inverted bossa nova of "W/O Love". The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' "Stranger", the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities. The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honors the Melbourne-based earth dragon's Chinese and Russian heritage. Includes download code.
PRICE: $14.50
CAT #: EPR 063CD
CAUSA SUI Szabodelico CD
Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this set, that other dimension of the band is being explored full-scale. Szabodelico paints with a colorful palette, both compositionally and sonically -- digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15-year life-span, Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression -- forging new paths into an existing map. Szabodelico feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection. Sparsely dubbed and mixed with a natural, full-bodied flavor by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking "where did the time go?" The answer of course is: Szabodelico.
PRICE: $10.00
CAT #: EMP 052CD
COOL GHOULS At George's Zoo CD
"Cool Ghouls -- a band fledged in San Francisco on house shows, minimum wage jobs, BBQs in Golden Gate Park and the romance of a city's psychedelic history turns ten this year. What better a decennial celebration than the release of their fourth album, At George's Zoo! Fortunately for everyone, the Ghouls got an album in before everything went to shit, and they made it count. This release includes fifteen of the twenty-seven tunes they managed to eke out while simultaneously working through major life moves. It was a five-month, all out, final sprint down the homestretch with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). This is a fully realized Cool Ghouls album. It paints a remarkable portrait of these SF homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are solid and the lyrics are keen. Joseph's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!"
PRICE: $18.50
CAT #: FTR 105LP
2021 restock. "Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact we'd name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band's story continued to roll out. They'd actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They'd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. 'Hit and Run' and 'Mayonnaise' are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That's 'Bored Stiff,' 'Bad Teeth,' and 'Sleep Cure.' The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they'd evolved. The last one was in November '77 at Max's with Vivienne Dick's then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Includes download code with purchase.
PRICE: $18.50
CAT #: FTR 236LP
WILSON, GARY You Think You Really Know Me LP
2021 restock with gold foil cover. Gary Wilson's monumental 1977 LP reissued with a glamorously shiny foil cover bearing the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs -- Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!
PRICE: $18.50
CAT #: FTR 434LP
2021 restock. "Vinylization of the recent Home Fi cassette (originally released on the Australian Brierfirld Flood Press label) by this magnificent New Zealand singer/songwriter. We were never able to score a copy of the tape, despite the fact we released Maxine's last LP, Silk (FTR 410LP), so we figured we would perform the public service of making it generally available to the whole wide world. That's just the kind of guys we are! Recorded in stark and simple terms, Home Fi represents Ms. Funke working mostly with just acoustic guitar accompaniment. And it's a classic. Most often, I'm put in mind of the Dandelion era recordings of Britain's Bridget St. John. There's a plainspoken quality to the songs and an equally straight forward approach to the musical bits that may not be indicative of the scope of Maxine's musical art (which has lots of space for odd noises and techniques), but it sounds just gorgeous. Hard to imagine anyone who actually likes music not falling for the sound of Home Fi. But hey, there's a clown born every minute. Not you of course. But look around sometime." --Byron Coley, 2019 Edition of 400.
PRICE: $22.00
CAT #: FTR 542LP
"We were introduced to the work of Brooklyn polymath Curtis Godino by Gary Panter. We asked Gary to recommend someone with light show expertise, and he said Curtis was the guy. That was true. We also learned that Curtis was an ace musician, which has resulted in two prior FTR releases. The first was The Cave LP (FTR 417LP, 2019) by Worthless. The second was the Corners and Their Places cassette by Nothing To Semble. Both of these releases were form-busting masterworks of outsider/prog crossover with hallucinogenic overtones. And even mightier is this new LP, Alien Nation, which sounds to us like a lost '67 Mothers album, recorded at Apostolic Studios while the band was in NYC for their six-month run at the Garrick Theater. Admittedly there's nowhere near as much guitar as you'd find on an actual Mothers record, so imagine what the band might have done on a session where Frank was sick and things were led being by Don Preston and Ian Underwood in full freak mode. The music is wonderfully cartoony electronic wheezing with all sorts of other instruments (and/or mock instruments) blended into the mix. And the vocals don't sound like Frank either, but just imagine if John Kilgore had left open microphones strewn all over the studio for various people to spoot into when they wanted. It's kinda like that. But even more fucked up. With hints of Bonzos-style pop-malfunction surfacing here and there like toy robot blimps. Really wonderful stuff. If I could be any recreational drug I could name, I'd like to think I'd sound just like this." --Byron Coley, 2021
GB 106CD
PRICE: $15.50
CAT #: GB 106CD
JOHNSON, CHUCK The Cinder Grove CD
The follow-up to Chuck Johnson's acclaimed Balsams LP (VDSQ 021LP), The Cinder Grove delves further into the compositional possibilities of the pedal steel guitar. This halcyon collection of tracks draws on a wider palette of sounds, adding strings and piano, to dive deeper into the sound bath of Johnson's meditative music. The Cinder Grove is a profound, affecting statement on the nature of loss and irreplaceability as well as a major addition to the canon of Johnson's work. It's a suite of requiems for lost places. Many of the spaces that once fostered affordable living and creative work now only exist in sonic memory, like the echoes of ghosts. Like much of the California landscape in recent years, some of these spaces having succumbed to fire. Others, to the equally inexorable forces of gentrification. While his 2017 LP Balsams was intended to provide the listener with a space for respite and calm -- even healing -- The Cinder Grove seeks to remember what has been lost while celebrating the resilience of the human spirit and the natural world. In making The Cinder Grove, Johnson dug through archival recordings from Oakland DIY performance spaces to digitally extract their reverb and echo qualities. He then applied these effects -- as well as the digitally modeled reverberation of a redwood forest -- to the tracks on The Cinder Grove, allowing the pieces to bask in the lush virtual spaces, and in the process realized that these sonic re-constructions can only ever be approximations. We try to make spaces what we want them to be, whether in memory or in the material present. Chuck Johnson - pedal steel guitar, synthesizers, Yamaha electronic organ, treatments with: Sarah Davachi - piano; Marielle V. Jakobsons - violin; Hilary Lewis - viola and violin; Crystal Pascucci - cello.
PRICE: $20.00
BEACH, MICHAEL Dream Violence LP
LP version. "Dream Violence, Michael Beach's fourth full-length, is an epic album that explores the duality of the human condition. Or, as Beach himself puts it, the album is about 'human futility, passion, desire, anger, frustration, and the struggle to maintain hope in a somewhat hopeless time.' Dream Violence, then, addresses the existential crisis of being an artist in 2020 (and 2021). Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric Israeli guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways. This album unfolds like a revelation, filled with sonic tumbleweeds that reference Neil Young's On The Beach, Bruce Springsteen's Nebraska, the Velvet Underground's Loaded, and the Go Betweens' Before Hollywood. Influences ranging from the enigmatic outlier Megira to Glenn Branca to the Oblivians are combined to create a new, exhilarating sound, part of the path that Beach has been on since 2008's Blood Courses. A veteran of year-end indie rock round-ups beginning with Golden Theft in 2013 and continuing with Gravity/Repulsion, released in 2017, Beach distills the best of those early albums and adds sharpened intent."
GGR 2021LP
PRICE: $37.00
CAT #: GGR 2021LP
BLACK UNITY TRIO Al-Fatihah (2021 Repress) LP
2021 second edition. "Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.
PRICE: $14.00
2021 restock; 180 gram exact repro reissue of D.R. Hooker's follow-up to The Truth. Recorded in 1974, but not released until 1979 on Connecticut-based Here Music/On Records. A "demo tapes & rough mixes" album featuring a different line-up then featured on Hooker's legendary debut: Carroll Yanni (lead guitar), Bert McDevitt (drums, Bob Reardon (keyboards) and Steve Malkan (bass). "The recordings you will hear are the result of the efforts of a group of talented and creative musicians. They are the finest of a two-hour live concert of completely original music.... This recording was not originally intended for public release." Some of the songs on here -- "Hello," "This Moment," "Free," "Winter," "A Tormented Heart" and "Kamala" -- appeared as bonus tracks on the CD reissue of The Truth).
IF 2080EP
PRICE: $20.00
CAT #: IF 2080EP
BRUBAKER & MAX COOPER, BRUCE Glassforms Versions 12"
Laurel Halo, Donato Dozzy, and Teheran sound artist Tegh offer their Glassforms Versions alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience. With Glassforms (IF 1059CD/LP, 2020), Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. When approaching his remix, Donato Dozzy tapped into an inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from Glassforms. "I chose 'Two Pages' for it's hypnotic feel in the notes repetition," he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica. Laurel Halo, the second remixer on Glassforms Versions, provides a remix of "Opening", bringing to mind the string section of an orchestra tuning their violins before the performance -- forever. They glide in-and-out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. Sound artist Tegh is the third on the remix bill -- the electronic musician from Teheran delivers his take on "Two Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that you are listening to Philip Glass, reflected manifold. Concluding Glassforms Versions is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper managed to bring these shorter edit into a satisfying, conclusive form.
PRICE: $22.00
2021 restock. LP version. Carla dal Forno announces her second full-length album, Look Up Sharp, on her own Kallista records. Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (BLACKEST 015CD/LP, 2016) and The Garden EP (BLACKEST 068EP, 2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley, and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work, as on "Took A Long Time" and "No Trace". These are contrasted with songs like "I'm Conscious" and "So Much Better" that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like "Fast Moving Cars". The second half begins with the feverish bass and meandering melody of "Don't Follow Me", which takes The Cure's "A Forest" as its conceptual springboard. It's the clearest lyrical example since "The Garden" of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with "Push On" -- dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. "Hype Sleep" and "Heart of Hearts" drink from the same stream as The Flying Lizard's dubbed-out madness and the vivid purple sunsets of Eno's Another Green World (1975). While "Creep Out of Bed" and "Leaving For Japan" funnel the fourth-world psychedelia of Cyclobe's industrial-folk into the vortex of Nico's The Marble Index (1968). A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate.
KR 065LP
PRICE: $20.00
CAT #: KR 065LP
2021 repress. Turkish free jazzers Konstrukt continue their series of exciting collaborations with Ken Vandermark, one of the key figures of Chicago's vivid jazz scene. After two critically acclaimed albums with the Japanese avant-garde/noise icon, Keiji Haino, Konstrukt return with a new inspiring collaborative mind: Ken Vandermark, who for three decades now has been a highly prolific musician in contemporary jazz and free improvisation. With various groups like NRG Ensemble, Spaceways Inc., The Vandermark 5, Made To Break, or the Peter Brötzmann Chicago Tentet (to name just a few) and various spontaneous collaborations the saxophone/clarinet player has created an impressive catalog and performed/recorded with the who-is-who of today's jazz/improv scene: Paal Nilssen-Love, Hamid Drake, Fred Anderson, Paul Lytton, Joe Morris, The Ex, Axel Dörner, Mats Gustafsson, Joe McPhee, Zu, Peter Brötzmann, Paul Lovens, Lasse Marhaug, Yakuza, Kevin Drumm, and many more. Vandermark's enduring exploration and development of new paths in (free) jazz and improvisation not only made him a key figure of the vivid Chicago scene (since the days of AACM, a hotspot for musical creativity), but also gained the him the reputed Mac Arthur Fellowship in 1999. In November 2018, Konstrukt (who themselves can look back on a long list of class A collaborators like Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, or Alexander Hawkins) met Vandermark in their homebase Istanbul for a recording session -- a match made in heaven that all musicians involved are extremely happy with. The resulting album, Kozmik Bazaar, starts with a reference to Ornette Coleman before turning more and more into a psychedelic trip that goes way beyond the "jazz idiom". But what else to expect from such a stellar constellation? Personnel: Kontstrukt: Korhan Futac? - alto saxophone, instant loops, vocal; Umut Ça?lar - electric guitar, synthesizer, gralla, guimbri; Apostolos Sideris - double bass; and Berkan Tilavel - drums, electronic percussion; with Ken Vandermark - tenor saxophone, clarinet. Recorded by Ozan Öner at Pür Recording Studio, Istanbul. Mixed by Korhan Futac? and Umut Ça?lar. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. 180 gram vinyl; includes download code.
GG 355CD
PRICE: $19.00
CAT #: GG 355CD
BOBUCK, CHARLES Chuck's Ghost Music CD
"Hardy Fox grew up in Texas. After college he moved to San Francisco reveling in the free love days of 1967-68. He co-founded the much-loved cult band, the Residents, where he was primary composer. Hardy retired from The Residents in 2015 but continued to compose for the group through 2018. In addition to his work with that band, he has recorded as a solo artist under various names including Charles Bobuck, Combo de Mechanico, Sonido de la Noche, Chuck, Black Tar and several others. Chuck's Ghost Music is a 2011 album originally credited to Charles Bobuck and The Residents, released in MP3 format via the Robot Selling Device. It was one of a string of releases containing music composed and performed largely by Charles Bobuck, long-time keyboardist for The Residents, in relation to the concept for their Talking Light tour. Chuck's Ghost Music is also a soundtrack album for the Randy's Ghost Stories video project, starring the group's lead singer Randy Rose. The album directly presages the introduction of Bobuck's solo 'contraptions' -- an outlet for extra-Residential recording activities which he could not pursue fully with the group. Originally issued solely through the group's now-defunct Robot Selling Device online MP3 store and credited to The Residents' Talking Light, Chuck's Ghost Music was later reissued as a tour-only USB lanyard, and again later as a CD-R, credited partially as a Bobuck contraption, in 2012. Before his death, Hardy Fox made a new master for the album and also created new artwork. We are now happy to release this beautiful music for the first time ever on a proper CD."
PRICE: $23.50
CHERRY, DON Where Is Brooklyn? LP
Limited restock. Klimt present a reissue of Don Cherry's Where Is Brooklyn?, originally released in 1969. From 1966, a set from Don Cherry featuring Ed Blackwell on drums, Henry Grimes on bass, as well as Pharoah Sanders on saxophone as part of a quartet. Cherry's abstraction on the trumpet cuts through his other work with Ornette Coleman, a more melodic player and a strong influence on Cherry. Clear vinyl.
PRICE: $22.00
2021 repress. "The first vinyl release in the U.S. for this, the fifth SotL album, originally released by Sub Rosa in 1999 and then reissued by Kranky in the fall of 2002. A pivotal album in their career, this marked the first time the duo completely stepped away from the more abstract sound pieces of earlier albums and engaged with the more symphonic and compositional approach that has become the forte of their more recent recordings."
PRICE: $22.00
CAT #: LAC 013LP
DNTEL Hate in My Heart LP
Presenting ten experimental/ambient compositions performed live in a living room in 2017 with a Buchla Music Easel, and some pedals, then edited. "I've felt more and more anger and frustration over the last few years. I set up a little mini-studio in my living room where i could make drones and noodle around while looking out the window. I thought of it as a way to meditate and to create something in a time when it felt kind of pointless to create anything. This tape is a collection of moments from those hours of recordings, edited down and adorned a little..." --Jimmy Tamborello
PRICE: $25.00
CAT #: MMS 022LP
2021 repress; double LP version. "Freddie Gibbs is the product of violent, drug-laden streets. But unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer. Piñata is 'a gangster Blaxploitation film on wax,' says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroit's Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer."
PRICE: $16.00
CAT #: MMS 044CD
MADLIB Sound Ancestors (Arranged By Kieran Hebden) CD
"Music by Madlib arranged by Kieren Hebden. Gil Evans to Miles Davis... Holger Czukay to the ensemble known as Can... Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That's the only way to explain the specificity of Four Tet and Madlib's collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib's classics like Quasimoto's The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. 'A few months ago I completed work on an album with my friend Madlib that we'd been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.' --Kieren Hebden AKA Four Tet"
PRICE: $63.00
CAT #: MFSL 2483LP
2019 release. "The music never stopped: Grateful Dead's Blues For Allah marks a return to the band's collaborative roots and the reappearance of percussionist Mickey Hart. Mastered from the original master tapes, Limited to 4,000 numbered copies. Features sublime dynamics, clarity, detail, and presence. Soul-Nourishing 1975 Album includes "Help on the Way/Slipknot!" and "Franklin's Tower": prayerful title track remains a vital plea for peace and call to harmony."
MOV 1288LP
PRICE: $31.00
CAT #: MOV 1288LP
EARTH & FIRE Song Of The Marching Children LP
"The legendary Dutch progressive rock band Earth And Fire, with foxy singer Jerney Kaagman and studio wizards Chris and Gerard Koerts, rose to fame in the early 1970's with a non-stop string of top 10 singles including 'Seasons', 'Memories' and 'Maybe Tomorrow, Maybe Tonight'. This Music On Vinyl expanded edition includes three bonus tracks: 'Lost Forever', 'Invitation', 'Song Of The Marching Children (single version)', all of which were not available on their original 1971 album. Earth And Fire Song Of The Marching Children celebrates its 50th Anniversary in 2021 and is available as a limited edition of 750 individually numbered copies on gold vinyl."
MOV 2734LP
PRICE: $29.00
CAT #: MOV 2734LP
DONOVAN What's Bin Did And What's Bin Hid LP
"Only four days after Donovan's nineteenth birthday his successful debut album What's Bin Did and What's Bin Hid was released. It contains his popular hit single 'Catch the Wind'. The music primarily consists of Donovan singing and playing mouth harp and acoustic guitar. Although Donovan was hailed as the British answer to Bob Dylan when he first emerged, his debut album actually established him as a distinctive talent in his own right."
PRICE: $29.00
PRINCE FAR I Jamaican Heroes (Orange Vinyl) LP
"Prince Far I was a Jamaican reggae DJ and producer, and a well-known member of the Rastafarian movement. Known for his distinctive voice. Far frequently used his music to criticise the Jamaican government. On his ninth album Jamaican Heroes, he collaborated with musicians like Roots Radics and The Flying Lizards. The album was mixed by Anthony 'Crucial Bunny' Graham at Studio One in Jamaica. Each song has something special, and revolves around topics that were close to Prince Far's heart. That makes this record a must have for everyone who is interested in reggae music and Rastafarian culture. It's available as a very limited edition of 750 copies on orange vinyl."
MOV 2849LP
PRICE: $30.00
CAT #: MOV 2849LP
RILEY, JIMMY Rydim Driven LP
"Rydim Driven is the fifth studio album by Jamaican singer Jimmy Riley, produced by legendary production duo Sly Dunbar and Robbie Shakespeare and released in 1981 through their label Taxi/Mango. Way too often overlooked, this record features Riley's signature mix of reggae, ska and rocksteady. It contains the hits 'My Woman's Love' and 'Everybody Needs Somebody To Love'. This 40th anniversary edition of the album is part of Music On Vinyl's reggae series, containing the Selected Reggae Classics sticker on the seal."
PRICE: $33.00
MORRICONE, ENNIO Legend Of 1900 (Smoke Color Vinyl) LP
"Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull'oceano) is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Melanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international award, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song 'Lost Boys Calling' featuring Roger Waters & Eddie van Halen. Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes, and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more. The Legend of 1900 is available limited edition of 5000 numbered copies on smoke coloured vinyl. The package includes an insert."
PRICE: $29.00
Double LP version. NOTON signs Italian-born, Berlin-based sound-artist and producer Saele Valese. In IVIC, his debut album, Saele Valese, distills hauntological noise, droning tonal experiments, and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee, and Thun. Drawing influences from the psychoacoustic properties of the live album format, IVIC's 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialisms, contributes to the images of gravity, intimacy, and spatiality that the music presented here invokes. In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics alternating with more ravenous upheavals of power electronics. If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompany the emotional charges and momentum of an imaginary cinematic experience; the beats caves in for instants of relief, only to recoil in a cognate tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during "Horse The Color Of Rust". The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
NA 5121LP
PRICE: $21.00
CAT #: NA 5121LP
2021 repress; LP version. "Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. It is the second Brazilian album released on Now-Again, following Seu Jorge and Almaz. Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of -- seriously -- every musician worth mentioning from America or Brazil from the past 50 years -- plays percussion on the album and is joined by do Nascimento's long time drummer, Ricardo 'Tiki' Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist's virtuosity to shine through originals, folkloric Brazilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist. These duets show the camaraderie that two master Brazilian musicians -- of two different generations, but of the same spirit -- share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances."
POL 003-2021CD
PRICE: $15.00
CAT #: POL 003-2021CD
LEIMER, K. Found Objects CD
"Found object is a loan translation from the French objet trouvé, describing art created from undisguised, but often modified, objects or products that are not normally considered materials from which art is made, often because they already have a non-art function. Like the results from automatic writing and readymades, Found Objects offers an approximation of those techniques in sound by repurposing displaced phrases and timbres, pitches, restatements, and treatments as the root technique. K. Leimer describes it this way: 'I worked toward a greater variety of outcomes between each of the pieces, with the goal of providing a more diverse listening experience. At the same time it became important to avoid any specific sense of adhering to a particular genre.' After eleven months in the studio, Found Objects finally became music, but only as the result of almost continuous, arbitrarily redirected accidents."
PRICE: $18.50
CAT #: PAL 063LP
LP version. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo -- but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings -- which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow (PAL 056CD/LP, 2019), there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith -- but unlike Odds, other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room -- we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..." --Tom Carter
PRICE: $14.00
PSYCHEMAGIK Rattlesnake 12"
2021 repress. Psychemagik's Rattlesnake is the duo's debut Pets Recordings single and it lives up to its deadly name. Sliding into the dance with all the stealth and funk venom its name suggests; the bite comes midway as the fatal secondary bassline kicks in with a Cobra Kai finishing move. It's loaded with two equally lethal remixes as the label welcome two more debuts from pit vipers old and new; Magda bites hard with a poisonous futuristic funk roll-out while Vyvyan continue their anonymous attack with a fantastic cosmic twist and a build-up that rattles like a whole army of Crotalus.
PILZ 2029077LP
PRICE: $28.50
CAT #: PILZ 2029077LP
LP version. 180 gram vinyl, gatefold sleeve. A reissue of Emtidi's Saat, originally released in 1972 as the 14th release on the legendary label PILZ. Producer Dieter Dierks prescribed the folk duo a good portion of cosmic electronic chords. The remaster sounds better than all issues before."Saatis a little-known gem and krautrock classic, an album full of dreamy and beautiful melodies. The Emtidi duo considerably expanded its instrumentation and style, and played a unique mix of folk, art rock, and psychedelic music. Besides acoustic guitar, the sound is mainly dominated by synthesizers, Mellotron, and other keyboard instruments, which are often played in a classical style. Some softly floating organ parts are comparable to early Tangerine Dream. In contrast stands a song like 'Love Time Rain,' which could be written by the British folk band Pentangle. On most tracks, Dolly Holmes sings lead with her high, transfigured voice. Aside from 'Die Reise,' a fairy tale story sung by Maik Hirschfeldt, all the songs have English lyrics. The album has a surprisingly full sound for a duo recording, although no drums were used. Most contemporary German bands played with new styles and sounds, but only a few obtained such wonderful music out of their experiments." --Klaus Kehrle, AllMusic
PRICE: $25.00
AKSEL & AINO Lullabies For Submarines LP
After having released their debut EP Fading Pictures in 2019, Public Possession present Aksel & Aino's first full-length titled Lullabies For Submarines. The album is light-and-dark, mysterious-and-emotional, and above all, it is a grand tale of companionship. While celebrating the uncountable facets of human relationships with all the sadness that comes along naturally, the duet of Aksel's instrumentations and Aino's poetry always remains upbeat (positive) looking into a bright future, leaving you with the simplest, most sincere and best wish of them all: "I hope we grow old together somewhere inside this great adventure we use to call life."
PRICE: $23.00
PARKER, BOBBY Soul Of The Blues LP
Last copies... RSD 2020 release. Virtuoso blues guitarist Bobby Parker inspired John Lennon, Eric Clapton, Carlos Santana, Jimmy Page, and many others yet it has taken 66 years since his recording debut for a vinyl LP compilation to be issued under his name. The opening track "Watch Your Step" was played on stage by the Beatles in their Hamburg days who by their own admission, took its riff to fashion the opening to "I Feel Fine". And let's not forget Led Zeppelin's "Moby Dick", which borrowed that same riff. What a great soulful blues singer Bobby Parker was too. From his 1956 recording of "Titanic", to 1969's "It's Hard But It's Fair", the latest cut on this album, Rhythm And Blues present 15 unforgettable vocal performances plus two instrumentals that showcase his unique way of playing the blues. Bobby Parker originals are hard to come by -- apart from the hit "Watch Your Step", everything else is a valuable collector's item. But this compilation brings them all together in one box and the label promises a treat is in store for you. Edition of 500.
PRICE: $24.00
CAT #: RIP 096LP
Sold out, not received. "Transmission incoming... alien sound waves have been bouncing off the side of our ship. We've managed to capture some of them on plastic. They seem to appear suddenly out of the vacuum. Projected by planets. Beamed through stars. Reflected off debris. Hanging in space like dust motes. Witch Egg is an improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates and Tom Dolas. Another fired expedition out in the wilds. Recorded and mixed at Stu-Stu-Studio by John Dwyer. This one is a burner designed optimally for your eco-pod sound system. When you've left the world behind, you will need a soundtrack while you lay in dream stasis." --John Dwyer
PRICE: $15.50
SPACEMEN 3 Recurring CD
2021 restock. Space Age present a limited edition reissue of the fourth and final Spacemen 3 studio album, Recurring, originally released in 1990. By the time the album was recorded, relations between the band had soured to the extent that the record is essentially in two parts. The first seven tracks were written and performed by Sonic Boom, aka Pete Kember, and the last seven tracks were written and performed by Jason Pierce punctuated by the cover version of Mudhoney's "When Tomorrow Hits", the only track on which both Kember and Pierce appear together. Comes in a six panel fold out card wallet featuring the original vibrant cover artwork used on the original US release.
PRICE: $22.00
CAT #: STR 048LP
2021 restock; LP version. An incomparable world of bug-eyed, harmony-rich folk-pop-psych-alt-country-rock lies in wait for intrepid listeners as the best Welsh band the world nearly forgot, El Goodo, return with only their fourth album in a 20-year career, Zombie. The first single to be revealed, "The Grey Tower", is an expansive, five-minute trip through the '60s heat of Lauren Canyon and Haight-Ashbury via the picturesque Vale of Neath. The result of a rapid-fire period of easy-come recording at the legendary Rockfield Studios in the company of experimental producer, Tim Lewis (aka Thighpaulsandra, a Julian Cope collaborator and former member of Spiritualized), El Goodo's 13-track long player gathers loose ends from the band's stop-start lifespan, as well as brand new songs exploring parenthood, losing parents and -- tangentially -- Spanish surrealist film. Featuring over 20 musicians -- including core members Pixy Jones (lead vocals/guitars/keys), Elliott Jones (drums), Jason Jones (vocals/guitars), and Andrew Cann (bass) -- the album welcomes contributions from Sweet Baboo/Stephen Black (clarinet/bass clarinet/flute) and Welsh Music Prize-nominee, Eugene Capper (violin/slide guitar). The Grey Tower itself is assembled of 17 players, finessing the ride between bright, sun-dappled hippy pop and intense, squally fuzz with saxophone, harmonica, heavy strings and a Baldwin Electric Harpsichord. As well as recording Zombie direct to tape, El Goodo dug around in Lewis' rich archive of analogue equipment at his Aeriel studio in Carmarthenshire, including a rare Univox early synth used by Joe Meek in the recording of his 1962 game-changer "Telstar" (now used by the band on "I Can't Leave"). The result of their journey is a rich tapestry of valve-powered sound, recalling the White Album (1968), Scott Walker, The Troggs, Gene Clark, the Beach Boys and numerous other "golden-age" sonic explorers. The album is named after Lewis's sadly-departed dog -- etched in the band's memories and nasal passages as a vegetable-loving creature, with noxious after effects. Forming in the late '90s, El Goodo (named after the Big Star song, "Ballad Of El Goodo") emerged with intent as not only a support band for Super Furry Animals on their 2006 UK tour, but also as label mates as the Furries released the band's self-titled debut on their Placid Casual label in 2005. The next 15 years saw El Goodo blip contentedly on the radar as a gently persistent musical jewel cherished by knowing audiophiles.
PRICE: $15.50
WHITEHOUSE Birthdeath Experience CD
Limited restock. Susan Lawly present a reissue of the seminal and classic first Whitehouse album, originally released in 1980. Birthdeath Experience is one of the most important and influential records from the embryonic field of electronic and industrial music. Includes an eight-page booklet with lyrics, technical information, and reviews.
GB 087LP
PRICE: $32.00
CAT #: GB 087LP
HASSELL/FARAFINA, JON Flash of the Spirit 2LP+CD
2021 restock; double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.
PRICE: $20.00
CAT #: TAL 021EP
TENTENKO An Antworten EP 12"
An Antworten EP showcases two new tracks from Tokyo based producer Tentenko alongside revisited and reworked versions by Tolouse Low Trax, MM/KM, and Nika Son. Whilst on her first ever European tour in December 2019, TENTENKO played a number of highly energized live shows in venues such as Salon des Amateurs or Alien Disko Festival Munich, where she has had the chance to finally meet up with some local electronic producers like Tolouse Low Trax, Mix Mup, Kassem Mosse, and Nika Son, whose work she had admired from afar for a long time already. Through these meetings the ideas towards this remix ep began to take shape. Tolouse Low Trax toils a tuff sort of hypnotizing Crepuscule-hip-hop minimalism. His "Spray Sky Mix" is faithfully in tune with the original Tentenko material whilst still bearing his most explicit rhythmic signature. MM/KM (Mix Mup and Kassem Mosse) have over the years consolidated a strong identity of non-conformist dance music. When MM/KM stressed that they would rather answer (Antworten) the sounds of Tentenko than doing a mere remix, this approach led not only to their "Get Version" but also ended up supplying the title of this EP. Nika Son's "Mizu-Iro Morph" is exploring a more narrative based dramaturgy of sounds that imbue the original track with a duskier cineastic appeal. Tentenko is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BiS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name Tentenko. Since then, she has radically reinvented her music away from glossy J-pop towards weird and industrial rooted dancefloor. Printed inner sleeve; includes download code; edition of 400.
PRICE: $20.00
"The prolific, Portland-based Randall Taylor is an audio/visual artist best known for his musical project, Amulets. Taylor's work uses analog tape and its imperfections to explore themes like degradation and nostalgia and their relationship to technology and to the self. By constructing and modifying tape loops and repurposing antiquated cassette players, Taylor creates dense, never-ending, looping soundscapes for both his live performances and sculptural sound art installations. Taylor's new album, Blooming, was fully written and recorded in quarantine in his home studio in early 2020. His personal life was in upheaval as was the world around him -- the isolation, sadness and change had Taylor missing '? what it felt like to feel alive and the need to feel that again,' he says. With widespread global pandemic and social distancing protocols in effect, Taylor would go on solo daily walks to clear his head and was struck by all of the blooming flowers surrounding him during springtime in Portland. Within that beauty came his realization that nothing lasts forever and that everything is cyclical -- ultimately resulting in themes of growth, decay, melancholy and beauty inherent throughout Blooming. Taylor says that the songs on the record became a part of his processing and journey, blossoming into a new life and outlook. Taylor has performed across the country at numerous festivals and opened for such acts as This Will Destroy You, Efrim Manuel Manuck (of Godspeed You Black Emperor), Benoit Pioulard, and Steve Hauschildt to name a few. His solo exhibition work has been on display in Austin, TX at Dimension Gallery and most recently installed in Portland, OR at Variform Gallery. Taylor was also recently published in the latest Kim Bjorn book series PEDAL CRUSH as an artist and inspirational creator. His last full-length, Between Distant And Remote, was released on Beacon Sound Records in late 2019, which he toured along the west coast in support of. Most recently, Amulets collaborated with Flenser family Midwife on the track 'Heaven' for her new split cassette. As Amulets, Taylor pays homage to the paradox of memory and growth, creating a deeply immersive musical landscape in the process."
PRICE: $17.00
CAT #: TMR 087LP
2012 release. "Unreleased for over 20 years, this masterpiece of American, late-Sixties garage rock is now widely available on vinyl and iTunes for the first time ever. Produced by Eirik Wangberg and overseen by Terry Melcher, the Sacramento-based Public Nuisance laid down gritty, baroque psychedelia that was too hard for the hippies and too poppy for the punks. The end result is the perfect amalgam of all that was great about the era. The album was shelved after the Manson Family murders took place at the home Melcher had leased to Roman Polanski. In the aftermath, all of Melcher's projects at the time were shelved and Gotta Survive and suffered that unfortunate fate. Released by Frantic Records in 2002 and out-of-print for quite some time, Third Man presents Gotta Survive with new artwork and mastered directly from the original two-track analog masters by Ron McMaster (the band's drummer!) at Capitol Mastering in Hollywood, CA. Comes with MP3 download code for the entire album."
PRICE: $24.00
CAT #: TMR 245LP
YOUNG, NEIL A Letter Home LP
2013 release. Third Man Records unearths Neil Young's A Letter Home. "An unheard collection of rediscovered songs from the past recorded on ancient electro mechanical technology captures and unleashes the essence of something that could have been gone forever..." --Homer Grosvenor
PRICE: $25.00
CAT #: TMR 295LP
2021 repress. "Signed to Atlantic Records in the hubbub after Nirvana's Nevermind (1991) exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like 'Honeybucket' received MTV airplay. First time on vinyl since 1993. Mastered directly from original analog tapes. Six tracks produced by Kurt Cobain. Cover art by legendary artist Frank Kozik. Includes the vinyl-only bonus track ''Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)'' originally by the MC5. Gatefold sleeve. 180-gram BLACK VINYL."
PRICE: $21.00
CAT #: TMR 459LP
MISSISSIPPI JOHN HURT American Epic: The Best of Mississippi John Hurt LP
2017 release. "Blues fingerpicking guitarist, singer and sharecropper Mississippi John Hurt was born in the heart of Mississippi Hill Country, along the veiny tributaries of the great American river. His moving renditions of 'Frankie' and 'Spike Driver Blues' were included in Harry Smith's American Anthology of Folk Music in 1952 and were vitally influential on the Greenwich Village folk music revival of the 1960s as well as John Fahey's development of the American Primitive Guitar genre. Single LP with single pocket tip-on jacket with soft touch finish."
PRICE: $21.00
CAT #: TMR 460LP
CARTER FAMILY, THE American Epic: The Best of The Carter Family LP
2017 release. "The Carter Family, a family vocal group from Appalachian Virginia, were the most impactful discovery of talent scout Ralph Peer and the first vocal group to become country music stars. Apart from the beautiful harmonies that can only come from kin, Mother Maybelle Carter pioneered 'scratch' style guitar picking, a clever synthesis of autoharp, banjo and guitar picking, and for years served as a matriarchal figure in the Grand Ole Opry. Single LP with single pocket tip-on jacket with soft touch finish."
PRICE: $21.00
CAT #: TMR 462LP
BLIND WILLIE JOHNSON American Epic: The Best of Blind Willie Johnson LP
2017 release. "Texas slide guitarist and gospel bluesman Blind Willie Johnson recorded only 30 songs over the course of his life as a preacher and street performer. Even so, the savvy combination of his gritty and powerful 'chest voice' singing style coupled with his mastery of slide guitar (some report he regularly used a knife as a slide) has given him a notably influential legacy, specifically with later bluesmen Howlin' Wolf and Robert Johnson. His tune 'Dark Was the Night, Cold Was the Ground' was selected for Carl Sagan's Voyager probe Golden Record, the Library of Congress as well as the National Recording Registry. Single LP with single pocket tip-on jacket with soft touch finish."
PRICE: $21.00
CAT #: TMR 463LP
MEMPHIS JUG BAND American Epic: The Best of Memphis Jug Band LP
2017 release. "The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format. Single LP with single pocket tip-on jacket with soft touch finish."
PRICE: $23.00
CAT #: TMR 554LP
2021 repress. "Lightnin' Hopkins is a true folk singer. His songs are the heart of the South, the very essence of his people, their joys, their triumphs, their difficulties, their oppression. Lightnin's music, like that of any great artist, has a universal quality. When you hear it, it might be your sadness or your ecstasy that is being told -- the feeling of all people, the qualities of all living, good and bad, lie in the easy cadences and pathos of Lightnin's expression. So long as folk music endures, so long will Lightnin' Hopkins be played. Strums The Blues is a compilation that was originally released in 1958 on the Score label. It is a collection of his legendary early Aladdin 78" sides. These songs have been carefully remastered for this release and cut by Warren Defever and Bill Skibbe. The cover art has been reimagined by modern-day folk artist Tim Kerr."
PRICE: $34.00
CAT #: VAA 005LP
ERLANDSSON, MATS 4-Track Guitar Music 2LP
4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Malone and Maria W. Horn's XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Sta?llbergs Gruva, a disbanded Swedish iron mine. The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the album's modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint. Now, Vaagner present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the double-LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson has undergone studies in composition in Stockholm, where he received a Master?s degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman. Recent releases include Minnesma?rke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (PRTLS 014CD, 2018), Selective Miracles and Valentina Tereshkova (PI 165LP) on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (MIA 038LP, 2017). Erlandsson has performed his work extensively, most recently at Pre?sences E?lectronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.
PRICE: $17.00
CAT #: YAZ 1019HLP
BLACKWELL, SCRAPPER The Virtuoso Guitar Of Scrapper Blackwell LP
2021 restock. 180 gram vinyl. Music recorded between 1929-1934. Includes "Penal Farm Blues" and "Good Woman Blues", a duet with Leroy Carr. "No musician ever surpassed Indianapolis' Francis (Scrapper) Blackwell for the gifted guitar playing that makes for so much of the blues' charm and durability."
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