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Forced Exposure New Releases for the Week of 7/12/21

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New music is due from Alastor, Sexores, and Chicaloyoh, while old music is due from Georgie Fame and the Blue Flames, Lee 'Scratch' Perry & The Upsetters, and Los Teddy.

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PRICE: $25.00
VA Asian Disco LP
Following the incredible (and successful) compilation Taiwan Disco, the master minds behind Aberrant Records present this delicious record. Subtitled Disco Divas, Funky Queens and Psych Ladies from Asia from the 70s to the Early 90s you don't have to take a wild guess to figure out what you'll find here, a treasure trove filled with exotic jewels from Thailand, Taiwan, Malaysia, Singapore, Hong Kong, Indonesia, and South Korea, from Asian funk to psych-tinged awesomeness, disco madness and much more. Features Chailai & Sawanee, Chantana Kittiyapan, Lei Si Si, Ding Dai, Yasmin, Wong Foong Foong, XYZ, Fatimah Razak, Chen Qiong Mei, Sum Sum & Pan Pan, Grace Simon, and Hit Girls.
PRICE: $25.00
CAT #: ASH 101LP
FRANK, JACKSON C. Jackson C. Frank LP
2021 repress. "Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside. Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP. For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener 'Blues Run The Game' to the stunning melancholy of 'Milk And Honey,' Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut."
PRICE: $31.00
CAT #: BFE 063LP
CHESWORTH, DAVID Industry & Leisure LP
Originally released in 1983 as a cassette and an EP containing three tracks -- "The Search", "I Just Thought", and "Schoolbooks Decide" -- by Innocent Records. This is a remastered version of the cassette including a couple of unreleased tracks. Electronic post punk and synth pop waves travel in circles, spiraling around solid blocks of underground experimental rhythmics. A proper treasure in the hidden realm of '80s experimentation, some of the most brilliant occult song lines of music innovation of its era show in these songs. It has the marks of a domestic piece of art where you can hear the anxious tension between the mechanical production of goods, and the need to consume pleasure in your free time; both as unsatisfying, both as devoid of essence. Around this dialectic, we hear the result of homemade repetitive music as a reflection on consumer existence. Not totally conceptual, but very much thought out, the success of these tunes is both its initial idea, and the end product. You can hear a solitary room of composition, and an art gallery of exhibition with interacting bodies. The imaginative sound design, and actual very catchy composition make this one of the most memorable entries in the fertile innovative music canon of its time. David Chesworth (born 1958, Stoke-on-Trent, United Kingdom) is an Australian-based interdisciplinary artist and composer. Known for his experimental and at times minimalist music, he has worked solo, in post-punk groups (Essendon Airport, Whadya Want?), electronic music, contemporary ensembles, and experimental performance. Industry & Leisure was partly written while Chesworth was Artist In Residence at the Praxis Community Art Foundation in Fremantle, in 1981. RIYL: A Certain Ratio, Talking Heads' Remain In Light mixed with Dark Day, Ike Yard, Din A Testbild, Marc Barreca.
BEC 5772894
PRICE: $23.00
CAT #: BEC 5772894
METRONOMY The English Riviera LP
2021 repress. Metronomy present their third album The English Riviera. The follow up to 2008's critically-acclaimed Nights Out, The English Riviera is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent. Since Nights Out, the band have swollen to a four-piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks. Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalized vision of The English Riviera, the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of "We Broke Free" shudders and ushers in waves of layered guitars and synths. Having produced and remixed everyone from Roots Manuva to Kate Nash an album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling. Characterized throughout with a sense of warmth and richness, The English Riviera is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time. Few other albums will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.
BR 130LP
PRICE: $28.50
CAT #: BR 130LP
Anamnesis is Liquidarlo Celuloide's new studio album. The band has turned into a landmark in Lima's underground, due to the synthesis of their multiple musical influences ranging from noise rock to dance rock. Anamnesis was produced by Killing Joke's Jaz Coleman, who saw them open KJ's 2018 Lima show, and offered to produce their next recording. The result has been another explosive work from the Peruvian band, who have expanded their sonic palette into new terrains. Dissonant riffs and sturdy drumbeats, mighty heavy guitar grooves and walls of feedback are assembled into songs that convey the most rabid post-punk and freaky psychedelia, as well as flirting with dub elements. "Hypnotic High Voltage Music" is the expression with which their sound has been defined. Coleman himself collaborated on the recording by adding synthesizers, as well as singing and writing lyrics on "Perversión", one of the album's highlights. For this recording, Liquidarlo Celuloide was Juan Diego Capurro (keyboards/vocals), Efrén Castillo (guitars), Giancarlo Rebagliatti (bass guitar), and Alfonso Vargas (drums). Cover art by visual artist, Juan Salas.
BR 139LP
PRICE: $26.50
CAT #: BR 139LP
SEXORES Salamanca LP
Salamanca, the fifth and darkest moment in Sexores discography, is a journey through the different passages of its sound history. The Mexico-based duo creates a tribute to all the witches who were persecuted and serves as an introduction to various types of magic. The lyrics are the result of an exhaustive investigation that collects elements of folklore from various parts of the planet and absorbs an unusual power and meaning when music enters some darker passages explored by the band in collaboration with various female Latin American artists: a mixture of darkwave, dreampop, poetry, magic, and sound experimentation. Salamanca is a kind of pagan fest, a coven, and a celebration for the ten years of the band's career. For the most part, free software was used on the album's production process avoiding the implicit restrictions when using proprietary software and seeking technological independence within a work that seeks freedom as the main objective. Cover art by Amy Haslehurst. Edition of 300.
BR 141LP
PRICE: $26.50
CAT #: BR 141LP
ALE HOP The Life of Insects LP
Ale Hop is an artist, researcher, and experimental instrumentalist. She composes electronic and electroacoustic music, by blending strains of noise, pop, avant-garde, ambient, and a complex repertoire of extended techniques for electric guitar and real-time sampling devices which she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres. The Life of Insects is her fourth studio album. The composer began to craft the album The Life of Insects after spending one month living with different types of insects in her home studio, which she bought from a local insect dealer in Berlin and built little terrariums to record them for the sound design of a film she was working on. Nonetheless, the album is not comprised of compositions based specifically on sound recordings of the insects, but it unfolds as an imagined world recomposed through speculated narrative and abstract elements that seek to portray their lives, assembling sounding stories that could be re-constructed in the mind of the active listener. For this purpose, the artist came up with a musical language that could hold this fictional universe, comprised principally of several layers and textures of guitars that mimic environmental and atmospheric sounds. Edition of 300.
BR 144LP
PRICE: $36.50
CAT #: BR 144LP
Buh Records present a reissue of Walter Smetak's Smetak, originally released in 1974. Walter Smetak was a Swiss cellist, composer, inventor of musical instruments, sculptor and writer who developed his career in Salvador, Brazil, and became an emblematic figure of the Bahian avant-garde and a key part of the cultural climate that made the rise of tropicália possible. Since 1969, he has carried out various workshops of experimental music at University of Bahia. His music was materialized in two albums: Smetak (1974) and Interregno (1980). Smetak was produced by Caetano Veloso and Roberto Santana, with the support of Gilberto Gil. There he unfolded a radical sound universe, based on the investigation of Afro-Brazilian ritualistic traditions, microtonality studies and collective improvisational open processes, always under the influence of theosophy, which he discovered in Brazil, and which allowed him to generate a symbolism represented in the construction of his own unconventional instruments, many of them of a sculptural nature, made with unusual materials such as PVC pipes, pumpkins and polystyrene foam, which he called plásticas sonoras. Around 150 instruments were created by Smetak, many of them in a surrealist style. They have been exhibited on various occasions in museums and galleries. His music was often based on graphic scores, many of them of great beauty. In addition to Smetak, Caetano Veloso and Roberto Santana, musicians such as Gereba, Tuzé Abreu, Djalma Correa, Capenga, among others, participated in the recording of this album. The author of one of the most important studies on Smetak, Marco Scarassatti, has written on the work of the Swiss-Brazilian artist: "His original and metaphysical work goes beyond any mysticism created around his figure. He investigated the relationship between sound and light, space and form, microtonality, collective improvisation, as a sound alchemist, a multimedia and unplugged prophet-visionary. While transforming matter, Smetak transformed himself and many of those around him." This reissue reproduces the much sought after original 1974 edition, published by Phillips. It includes the catalog of instruments used, adds a brochure with new photos and presents the remastered audio. The liner notes were written by Caetano Veloso. This project is part of Incidencias Sonoras: Coincidencia experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia. Gatefold sleeve; includes eight-page booklet.
BR 145LP
PRICE: $33.00
CAT #: BR 145LP
Buh Records presents a reissue of Walter Smetak & Conjunto de Microtons' Interregno, originally published by Discos Marcus Pereira in 1980. The second album by the legendary Swiss artist and composer, based in Brazil, Walter Smetak, opened a new field of exploration within his own musical horizon. With the publication of Smetak (1974), a musical universe had been defined where Afro-Brazilian ritual traditions, studies of microtonality and open processes of collective improvisation converged, always under the influence of theosophy, which allowed him to generate a personal mythology, a religious-esoteric worldview that served as a framework for the creation of a musical symbolic universe embodied in the construction of more than 150 instruments of his own invention that he called plásticas sonoras. In Interregno (1980), Smetak radicalized some of these processes. Produced by Carlos Pita, this album features microtonal guitars, performed collectively -- another step in the use of unconventional tunings that Smetak had been exploring -- in permanent dialogue with a Yamaha electric organ that assured him the possibility of prolonged sounds. Walter Smetak was a crucial figure in the Brazilian avant-garde and a key part of the cultural climate that made the rise of tropicália possible. Caetano Veloso, Gilberto Gil and Tom Zé were his enthusiastic followers. The author of one of the most important studies on Smetak, Marco Scarassatti, has written on the work of the Swiss-Brazilian artist: "His original and metaphysical work goes beyond any mysticism created around his figure. He investigated the relationship between sound and light, space and form, microtonality, collective improvisation, as a sound alchemist, a multimedia and unplugged prophet-visionary. While transforming matter, Smetak transformed himself and many of those around him." This project is part of Incidencias Sonoras: Coincidencia experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia. LP includes insert.
BB 038LP
PRICE: $25.00
CAT #: BB 038LP
2021 restock. LP version with color inner sleeve and liner notes by Asmus Tietchens. Originally released on Sky Records in 1981, Bureau B reissues Cluster's Curiosum -- the sixth duo collaboration between Dieter Moebius and Hans-Joachim Roedelius. Curiosum was to mark a departure to pastures new. Little did they know that this would be their last release for the next nine years. Curiosum was launched into an atmosphere of musical turbulence. Electronic sounds had become commonplace in pop music and the voice of Cluster could barely be heard through the noise of a new generation of music. Curiosum is a decidedly tranquil, almost melancholy album -- quiet being the operative word, as Cluster slipped out of the limelight. It was recorded in rudimentary fashion in Austria, now home to Roedelius. This is Cluster music at its most serene, a sense of profound humility running through the seven tracks of the LP. It says a lot about the state of mind of the two musicians, allied to the fact that this was the first time they chose to mix outside of Conny Plank's studio where, in the past, the finishing touches had been applied. Roedelius and Moebius laid their cards on the table for all to see, offering up Curiosum as an honest, unadorned selection of tracks, free of artifice and preconception. The album represented a return to the virtues of their early work (when Cluster was written with a "K"), random and spontaneous. Curiosum is nothing if not a curiosity, wholly resistant to the cacophonous zeitgeist of the early '80s, stripped down and keenly focused on perfect shapes. This is Cluster's swan-song to the past.
BB 058LP
PRICE: $25.00
CAT #: BB 058LP
CLUSTER Cluster 71 LP
2021 restock. 140-gram LP. Cluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of "100 Records That Set The World On Fire (When No One Was Listening)." Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.
PRICE: $14.50
CAT #: BYR 033CD
Released back in 2020 Sarmacja's Jazda Polska spread with a deep, dub-echo amongst bass voyage enthusiasts, including with a remix from The Orb. The album was featured in a good deal of best albums of the year selections, and secured plays on BBC 6 Music, Polskie Radio and more. Time for Booh. At the end of 2019, Sarmacja started to cooperate with the vocalist FLicker Fox. First, the trio concerts, and then the initial studio session showed that there is no need of "seeking" or "getting along". Immediate action. Without building multi-level concepts and challenging the matter. Booh is a breath of perfume, reminding a distant, yet very specific feeling. A feeling with no good memory of related location. And when we try to locate it, it vanishes like a soap bubble. Booh is pure fun -- a house party where you talk on frivolous topics, upload clips from YT and sip a drink every now and then. The party was supposed to be short and concise. Fortunately, the gentlemen from Data Animals came and with their selection, carried the party until dawn with a bonus EP. Data Animals formed by guys with two hearts -- one from Central Russia, second from Central Asia. Eternal eastern melancholy blended with multicultural digital beats plus a pinch of humor are the answer to the challenge of unpredictable modernity. Precise sound production, sensual melodies, enough of dusty 12-bit conversion: Damir Mambetaliev and Andrey Rublev are searching for timeless yet fresh electronic sound, and their Sati EP is the byproduct.
PRICE: $15.00
2015 repress. Lee 'Scratch' Perry & The Upsetters' Eternal Dubs Chapter 2 on Clocktower. Tracks: "Brad Draw," "Clocktower Version," "Clocktower Station," "Wa Fi Do," "Jah Dub," "Love Version," "Deliah Dub," "Ital Locks," "Ital Dub," "Dark Moon," "Moon Version," "Looking Dread" and "Dreaded Version."
PRICE: $125.00
CAT #: COR 049LP
VA 20 Years Cocoon Recordings 6x12" BOX
To celebrate 20 since inception, Sven Väth's Cocoon Recordings is serving up a special 15 track collection that brings together new and exclusive tracks from artists that have been a huge part of the journey. A suitably spectacular collection that pays homage to one of techno's finest operations. 20 years is a long time in any facet of life, but in techno it is eons. The popular character, much loved DJ and always innovative creative force started out with an early rave techno sound back in the late '80s that he has steered into much broader realms ever since. Väth has ensured Cocoon has always covered all points of the spectrum. Cocoon's unique brand of techno has always been at the heart for the operation and now, these brand new and exclusive tracks confirm that once again. Rampa kicks off with the jittery broken beat techno of "2000" and Emanuel Satie keeps the melodic vibes alive with his wistful "Departure" and then Diynamic label boss Solomun serves up a rare new production "We Will Never Have Today Again" which is a dramatic and epic groove with majestic synth work lighting up the bold drums. Gregor Tresher slips into a more slick and funky drum work out with "Nostalgia (is The Enemy)" and Joseph Ashworth's "Eavesdrop" reaches for deep space with its distant synth swirls and astral atmospheres. Pig & Dan very much came of age through their releases on Cocoon and here offers an intense cosmic workout with "Trauma", while US legend Josh Wink keeps it deep and heads down with his gritty roller "Nuclei". After lush techno trance from Ricardo Tobar comes a heavyweight collaboration between Tiga and Roman Flügel that is designed for those freaky late night hours and then exceptional minimalist Planetary Assault Systems gets you in a spin with his mind-melting cosmic melodies and pounding drum rhythms. There is paranoia and urgency in the excellent work of Jacek Sienkiewicz, dark industry when Andre Galluzzi and Daniel Stefanik link on "The Regulator" and high-grade machine soul from Extrawelt. Croatian mainstay Petar Dundov brings his trademark melodic magic to "Overtone" and things come to a perfect close with the techno warmth and mellifluous synth work of Sebastian Mullaert's "Kikaqu". Limited edition 6x12" vinyl deluxe boxset, with individual fluorescent color sleeves and paper insert; edition of 700.
PRICE: $20.00
As well as being a return to public programming, this live event is also a record launch for The Mystery J, Corbett Vs. Dempsey's new vinyl LP which features improvised music by Joe McPhee, violist Jen Clare Paulson, and Brian Labycz on electronics. Recorded in 2014 at Okka Fest 6 in Milwaukee, it contains some of the most bristling trumpet work ever heard from McPhee's lips, in a super-responsive, sometimes uncommonly quiet musical context. Another side of the master improviser -- subtle dialogue with two younger maestros. Taking its title from the rum-running yacht on which McPhee's father sailed from Nassau to Miami, The Mystery J is CvsD's inaugural long-playing vinyl. Pressed in Chicago at Smashed Plastic and featuring a design with artwork by one of the original Chicago imagists, Richard Wetzel. You will be morose when you have missed your chance to spin it on your own home table, so as McPhee says don't postpone joy! Edition of 500.
PRICE: $26.00
ERICKSON, ROKY The Modern Humans' Show LP
This is one of the greatest radio shows ever made onto a record as it combines a radio interview with Roky Erickson in full gloom while he is presenting the demos of tracks that may ended up on the great The Evil One LP Earlier versions of "Mine Mine Mind", "Two Headed Dog", and "Click Your Fingers Applauding The Play". Previously released on vinyl by France's Sponge Records in 1976. The bonuses (interviews, demos, rarities) are dandy, but the album is treasure enough. Its retro-metal chops have more kaboom than the irony-diluted pap of current poseurs, and its bent lyrics mop the floor with wannabe-kooks like Jad Fair. Some savvy touches -- such as Roky's progressive pre-PC designation that the swamp monsters are "alligator-persons" -- hint that Roky was more lucid than he let on.
PRICE: $26.00
CAT #: DYI 002LP
Attention classic '77 punk rock fans, here's something very special for you: the unearthed demo recordings Generation X did (presumably for Chiswick Records) in February 1977, a year before the release of their seminal first album. A treasure chest filled to the rafters with raw, untamed, youthful versions of anthemic hits such as "Wild Youth", "Dancing with Myself", "Your Generation", or "Ready Steady Go", alongside lesser-known songs from their catalog. An essential piece for the collection of those interested in these brit punk pioneers.
PRICE: $26.00
CAT #: DYI 003LP
CURE, THE Live At Hurrah, NYC, 15th April 1980 LP
On April 1980, The Cure started their very first tour out of Europe, including three nights at Hurrah, New York, and on the very first night of such an exciting adventure for the Crawley four is when this gem was recorded. Presenting their classic second album Seventeen Seconds to a loving (and sometimes confrontational) American audience, the giants of post punk prove to be in top shape with a bullet proof repertoire to please any die-hard fan. 12 tracks that prove beyond any doubt why they'd turn into untouchable giants.
PRICE: $28.50
First time reissue of Caracol. Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music. The music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson. João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers. Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals. "What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted." Contains two extra and unreleased tracks, recorded during the original recording sessions. Remastered from the original tapes. The track "Terra Batida" was included in Outro Tempo (Electronic and Contemporary Music from Brazil 1978-1992) (Music From Memory, 2017).
PRICE: $24.00
CAT #: DOC 144LP
2021 repress. Akira Ifukube's mighty score to the legendary monster movie that started it all, Godzilla! Ifukube's visionary music is super dark reflecting the horror of Ishiro Honda's film. This incredible score music alternates between brass and strings as we witness the death and destruction that comes in Godzilla's wake.
PRICE: $24.00
CAT #: DOC 145LP
IFUKUBE, AKIRA King Kong vs. Godzilla LP
2021 repress. Akira Ifukube's score to the legendary 1962 monster movie King Kong vs. Godzilla. Ifukube's visionary music is tense and violent, a perfect complement to Ishir? Honda's film. This incredible score alternates between brass and strings as you witness the death and destruction that comes in the wake of these two classic film monsters' battles. Edition of 500.
BEC 5676782
PRICE: $17.50
CAT #: BEC 5676782
MYD Moving Men Remixes 12"
Features the original version of "Moving Men" (feat. Mac DeMarco) and four remixes by Metronomy, Gaspard Augé (from Justice), Victor Le Masne, Bob Sinclar, and Panteros666. Solid blue vinyl.
PRICE: $31.00
2021 repress. KMRU is the moniker of Joseph Kamaru, a sound artist and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond, he was listed by Resident Advisor as one of "15 East African Artists You Need To Hear" in 2018 and is a regular performer at the fabled Nyege Nyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. An exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound, revered for its ability to cross borders with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient music both captivating through its textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: "Why Are You Here", "Well", "Solace", "Klang", "Insubstantial", and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens. All tracks written and produced by KMRU. Recorded and produced in Rimpa, (Nairobi, KE). Mastered by Stephan Mathieu at Schwebung Mastering, June 2020. Photography: Claudia Mock; Layout/Design: Nik Void.
JD 048EP
PRICE: $14.00
CAT #: JD 048EP
CONTI, IVAN MAMAO Katmandu 12"
Following on from his critically acclaimed 2019 solo album Poison Fruit (FARO 208CD/LP, 2019), Azymuth's iconic drummer Ivan "Mamão" Conti returns with Katmandu. Though it was recorded and mixed in the same sessions, "Katmandu" was mysteriously omitted by Mamão from the Poison Fruit album, either accidentally or on purpose, he's not quite sure. What is for sure is that it's one of the most potent poison grooves of them all. The original mix, produced by Daniel Maunick, accompanies remixes from three of mainland Europe's finest DJ/producer combos, prolific German nu-jazz collective Jazzanova, MCDE Recordings and Faces Records' Pablo Valentino, and Croatian house veteran Eddy Ramich with assistance from Zagreb duo Jan Kin?l & Regis Kattie. This EP is the second in a series of limited edition dance 12"s celebrating 25 years of Far Out Recordings and is housed in a special sleeve which uses the label's original semiquaver logo from 1994. 180 gram vinyl.
FD 128CD
PRICE: $14.50
CAT #: FD 128CD
JFK Nganga CD
Note: "In Cuba, the term 'nganga' refers to a certain creation made with an iron cauldron into which several items (such as bones and sticks) are placed. It also refers to the spirit of the dead that resides there. In Palo, it refers to an iron cauldron used to imprison evil spirits using chains, padlocks, knives, etc., which can be used for black magic." Reissue of this great album by Anthony Di Franco of Ramleh's longstanding JFK project. Originally released in 2017 by US label Chondritic Sound as a limited run vinyl LP, this reissue features two bonus tracks ("Tenebrae" and "Star Killer II") that only otherwise appeared on a very limited lathe-cut 7" and catches JFK in a more direct mode than subsequent work, with serrated electronics owing more to earlier excursions jostling for attention next to battlefield beats and a malfunctioning heart rate monitor. If anything bridges the gap between power electronics and the sound of the mightiest Tresor releases from their own height it's JFK, although this perhaps understates the attention to detail also carefully sewn into the proceedings. A true master of the stealth n' bludgeon approach to contemporary electronic music only the strongest of painklllers will help. It shouldn't need saying but play loud.
PRICE: $26.50
EDGE, BEN New Tradition LP
New Tradition is the debut solo album by Ben Edge, who's past musical projects include Thee Spivs and Ben Edge and the Electric Pencils. Releasing on vinyl to coincide with the exhibition of Ben Edge's paintings in June 2021 at the Crypt Gallery at the St Pancras New Church in London, in collaboration with the Museum of British Folklore. Ben, who is a painter and visual artist, has undertaken a project over the past four years in which he has obsessively been visiting, filming and painting the folk customs, rituals and ceremonies of the British Isles and this group of songs was inspired by the sights, sounds and folkloric world in which Edge has immersed himself. The cover art is one of Edge's paintings and depicts the Garland king of Castleton, Derbyshire. The album was produced by Matthew Shaw (Shirley Collins, Tex La Homa, Spectral, The Pop Group). 2021 will be a busy one for Ben Edge with the launch of his documentary film and series of paintings "Frontline Folklore" that will be exhibited in collaboration with the Museum of British Folklore and of course when the world permits playing live and performing the songs of New Tradition. Dark green vinyl.
PRICE: $16.50
BRADLEY, SID Child of The Sea CD
Lost and found studio recordings (1971-79) by US singer-songwriter Sid Bradley including some of the sought-after 45 sides released with his band Erik in the early '70s plus fabulous previously unreleased tracks. Pro-sounding sound, ranging from fuzzed-out psychedelic hard-rock to psych-pop and proto-power pop. A phenomenal and versatile songwriter (he has written hundreds of songs) Sid Bradley started to play in garage bands like The Cavaliers in the '60s and by the early '70s he was part of Erik, a group responsible for a couple of self-produced 45s, Child Of The Sea/Nothing Is Easy and Sometime In Your Life/Rebel Woman. These 45s were usually used for promo purposes and it was typical of Sid to load a few record boxes into his car and travel hundreds of miles, visiting all the radio stations, trying to pitch his music to the DJs. This one-man marketing operation actually worked fine, as Sid's music was played in radio stations across the eastern US, Canada, England, and even Germany. And some of his songs were reviewed in Billboard, Record World or Rolling Stone. You may be familiar with the hard-psych sounding "Child Of The Sea" as it has been included on several psych comps and it was also part of the Lodge 49 soundtrack. The flip, "Nothing Is Easy" wouldn't sound out of place on any Rubbles volume. "Rebel Woman" is now considered a proto-metal cult classic and it was recently included on the Brown Acid series. After the demise of Erik, Sid continued recording his songs using different musicians. Most of these tracks remained unreleased until a few years ago, when Sid, encouraged by the interest on his old Erik 45s, decided to remaster them and put them available on several digital only albums that caught the attention of mags like Shindig! Guerssen Records now present a selection of those tracks. Master tape sound and insert with liner notes by Sid Bradley and Paul Osborne (Shindig!); also includes download code."... a gifted singer-songwriter with a love for late '60s songcraft and the more muscular powerpop of '70s contemporaries like The Raspberries" --Paul Osborne (Shindig!)
PRICE: $20.50
Hey Suburbia present a reissue of Beatnik Termites' self-titled album, originally released in 1990. Cleveland power-pop punk trio Beatnik Termites was another group of Ramones fanatics that merged a heavy Ramones influence with a love of surf rock; their caustic pop melodies and ironic, stinging lyrics turning the soft underbelly of pop music on its head, yielding a sound that had tinges of innocence, beneath a knowing, thrash-rock wink. Front man Pat Kim (AKA Pat Termite) started the band back in 1987 with drummer Reggie Silvestri and bassist Brian McCafferty, the group was reputedly a favorite of Nirvana's Kurt Cobain according to his diaries. This is a limited reissue of their hyper rare debut six-track 12", whose original copies are impossible to find for decent prices online. All Ramones maniacs now can fill that hole in their collection thanks to the Hey Suburbia label. Full remastered sound. Yellow vinyl; edition of 300.
PRICE: $20.50
Hey Suburbia present a reissue of Senzabenza's Peryzoma, originally released in 1992. The sensational Italian pop-punk quartet Senzabenza will forever be associated with The Ramones, having opened for them on every Italian tour undertaken by the legendary New York group during the 1990s, the Italians eventually placing Joey Ramone in their producer's chair. Formed in 1989 in Latina, a small town that lies a short distance southeast of Rome, the group termed their music "Flower Punk," indicating a sound somewhere between their Ramones obsession and the non-thrash tempos of surf rock, along with peripheral links to the Italian variant of the "beat" music of the mid-60s, as well as hints of ska and the excesses of acid rock. As with many underground acts of the era, a demo sparked the initial interest that brought them onto the newly formed McGuffin label for debut set Peryzoma, with front man Nando Ferdinandi joined by guitarist Sebi Filigi, bassist Fabio Furlan, and drummer Max Bergo. One of the lost treasures of Euro pop punk, it was about time that their groundbreaking debut LP Peryzoma gets the deluxe-reissue treatment. Includes two bonus tracks. Fully remastered. Pink vinyl; includes double-sided insert poster.
PRICE: $20.50
Hey Suburbia present a reissue of Fifi and the Mach III's Attack The Zombies, originally released in 1993. Cult Japanese power-pop/punk band Fifi and the Mach III was initiated in the early 1980s in the southern port town of Kitakyushu by childhood sweethearts Fifi and Nolly, Ramones fans that loved The Stooges and The Pistols. When guitarist Tsukasa joined, Fifi dropped out to raise a baby, but re-joined in 1989, leading to their signing to garage rock label 1+2 Records. The acclaimed debut CD, Attack The Zombies, issued on vinyl here for the first time, had a couple of Pistols covers and a cut of The Kinks' "I Need You," as well as unique originals like "Dog Of The Trend" and "Raw Power Queen," which hinted at their influences, yet yielded a distinctive sound. Includes four bonus tracks. Green vinyl; includes fold out poster.
PRICE: $23.00
CAT #: HJR 018LP
MOONDOG The Viking of Sixth Avenue 2LP
2021 restock, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. Poet, composer, street musician and cosmologist Moondog (Louis Thomas Hardin, 1916-1999) learned rhythm from American Indians and counterpoint from J.S. Bach. Many of his recordings feature instruments he built himself: trimba, yukh, tuji, oo. Sometimes you can hear in the background the streets of New York, where Moondog often slept. In addition, he was blind, due to an accident when he was 15. Sometime in the 1950s, fed up with being mistaken on the street for Christ (his regular busking spot was uptown on Sixth) Moondog put on a Viking costume, with spear and horned helmet; and he dressed like this until the late 1970s (by which time he was working with orchestras in Germany). Moondog's renown was extensive: Igor Stravinsky lobbied a judge on Moondog's behalf. Charlie Parker wanted to play with him, Julie Andrews DID play with him, and he was feted by the likes of Bob Dylan, Marlon Brando, and Steve Reich. Andy Warhol's mother designed one of his covers, and Weegee took photographs of him (included in the booklet). Janis Joplin covered him, Mr. Scruff owes him badly, and Antony and the Johnsons covers his songs. This is the first retrospective of Moondog's music -- 36 tracks from 1949-1995, most of them exceptionally rare, all of them miraculous.
PRICE: $23.50
CAT #: HJR 060LP
2021 restock; 2LP version. South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dream-time rhythms which all carry his unmistakable fingerprint. R.I.P. comprises 15 tracks painstakingly crafted by Cunningham in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion.
PRICE: $22.00
CAT #: HJR 206LP
2021 restock. Honest Jon's Records present a reissue of Jamie Muir and Derek Bailey's 1981 duo album, Dart Drug, originally released on Bailey's Incus label. Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey. There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves among them. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves. What on earth did Muir's kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks), while others could be anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific, but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track. Dart Drug is consistently thrilling, and often amusing, but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That's often precisely what happens in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with Muir in full flight? Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself. "The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) which is to give music a future," Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation (1980). Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989; all the more reason for seeking out this magnificent, wild album.
PRICE: $14.50
EVERETT, RON The Glitter of the City CD
Jazzman Records present a reissue of Ron Everett's Glitter of the City, originally released in 1977. As private pressings go, Ron Everett's Glitter of the City is certainly one of the most obscure, controversial and mysterious of them all. Until now, the name Ron Everett has been practically unheard of outside his native Philadelphia, and only devoted funk and jazz enthusiasts have been aware of his album, originals of which are owned by literally just a handful of collectors scattered across the world. But with the help of noted local music buff Dave "Philly Dave" Louis, Jazzman Records has spent the past few years unearthing an incredible and unlikely story of selflessness, determination and tragedy. With its plain sleeve and homemade ethic, the Glitter of the City wasn't sold in stores upon release, nor did it have any kind of distribution. Yet it comprises of funky jams, sweet jazzy soul and all manner of funk and blues infused jazz -- a shimmering celebration of Philadelphia and its vibrant musical community. Jazzman's efforts have resulted in an official release complete with liner notes and photographs which tell the story of Ron Everett and his life in music. The label's research also yielded the master tape of an as-yet unreleased album, of which we have taken three tracks and added them to the record. Number 30 of the celebrated Jazzman Holy Grail Series. CD with booklet, includes three previously unreleased bonus tracks.
KK 120CD
PRICE: $15.50
CAT #: KK 120CD
VA Jeff Ozdemir & Friends Vol. 3 CD
In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organizing the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this. Undeterred, he instead put together the third instalment of the Jeff Özdemir & Friends series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S.Blumm, Joanna Gemma Auguri, Elke Brauweiler, and Elmer Kussiac for an 18-track album. Like its two predecessors from the years 2015 and 2017, respectively, Jeff Özdemir & Friends Vol. 3 sees the man behind Kreuzberg's 33rpm record store showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and Afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. While artists like Ertan Do?anc?, Désolé Léo, eng°n, F.S.Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the series, new faces and forces also enter the mix. The melancholic "Love Letters" for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex's appearance has been dreamt of collectively but hasn't been fully realized until now. Whether it's Désolé Léo's French crooner soul, the lo-fi synth pop song "Bored" featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of Jeff Özdemir & Friends Vol. 3 does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere -- a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other. The contributions by Vackrow, Gebrüder Teichmann's old band Beige GT, and Otto von Bismarck, do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. Also features Daniel Raymond Gahn, Alexandre Thiercelin, Jeff Özdemir's New Hard Drive, and Treetop.
PRICE: $23.50
PYE CORNER AUDIO Black Mill Tapes Volume 5: The Lost Tapes LP
"In the beginning, there was just a box of tapes and 'Fate's Gentle Hand.' It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services, found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as 'archived magnetic recordings.' The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of moldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: Black Mill Sessions. And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work . . . Some of the tapes displayed an unusual amount of degradation and ... an unsettling amount of background noise, whether electrical in nature, or otherwise,' wrote the Head Technician . . . It was a good yarn, and the music was better still. Like his contemporaries Demdike Stare and Ghost Box, Pye Corner Audio seemed to be tapping into some hidden energy current, channeling spirits via electrical means. The pioneering transmissions of the BBC Radiophonic Workshop could be detected lurking within the music's staticky swirl; so could the ominous throb of John Carpenter's film soundtracks. Drones and flutes commingled with chugging machine beats; miasmic clouds of haunted tone alternated with death disco. It all sounded eerie, otherworldly, possibly occult -- yet also, in tracks like the glimmering 'We Have Visitors,' accented with a hint of mischief. Over the next few years, Martin Jenkins -- for that, after all, was the Head Technician's name -- would go on to release three more volumes of Black Mills Tapes. Among the dozens of releases he has put out since 2010, they remain among the most beloved in his catalog. Now, ten years after Avant Shards first appeared, Lapsus is pleased to present Black Mill Tapes Volume 5: The Lost Tapes. The musical landscape has changed considerably in the past decade, but what is remarkable about the Black Mills Tapes material is that it hasn't aged a day; its retro-futurist transmissions sound just as mysteriously compelling as they did the first time around. While they purport to faithfully transcribe the sound of yesterday's technology, they end up being something more: a record of what we wish the past sounded like -- a rickety tape transfer of desire itself, spooled and boxed, just awaiting discovery." --Philip Sherburne
LR 335LP
PRICE: $28.50
CAT #: LR 335LP
2021 restock. Originally released in 1972, this is the second album by legendary German ambient pioneers Dieter Moebius and Hans-Joachim Roedelius. Moebius and Roedelius essentially create ambient electronic soundscapes that ebb and flow, droning on in a suspended world of anti-gravity where machine has conquered man. Includes bonus CD of the album.
PRICE: $25.00
CAT #: LLO 019EP
CERRERO FEAT. EL "LEON" PARDO Cancion Para Un Amigo 12"
Llorona Records' in-house act, Cerrero, teaming up with another Colombian, gaitero and trompetista, El Leon Pardo. The enigmatic and cult like figure has featured on many-a-Colombian record in recent years, including, Ondatropica and Velandia y La Tigra. Though this might be one of the most exciting match-ups yet. Cerrero's minimalistic electronic beats channeled through an analog console alongside the abraded howls of gaita and accentuated trumpet work. The deep and bassy four-track EP, Canción Para Un Amigo, was justly named to mark the meeting of these two brilliant minds. Mixed in the extemporaneous ambience of a live recorded session, it makes for a riveting listen. Six standalone tracks, bound through crescendoing loops which culminate in an ethereal and atmospheric ritual of sound which evokes Colombian ancestry. From the spellbinding opening of gaita-led "Canción Para Un Amigo", the EP evolves through "Todo Te Llevaste", a track skillfully stitched between its vocal interludes by the rat-a-tat of accented tambor, a fanfare of trumpets and underpinning bass line. Closing out via "Cumbia en Lejanía"'s, gaita/trumpet led interplay into "Despedida", a pining jazz melody soaked in reverb, it's as complete of a work we've heard yet from Cerrero and represents another glistening gem in the ever increasing bows of the Llorona catalogue. Inescapably mesmeric as it is a true delight.
LC2CD 5084CD
PRICE: $21.00
CAT #: LC2CD 5084CD
Soft Machine, live from the Théâtre de la Musique, Paris on March 2nd, 1970. Despite their gradual dissolution in the late '70s, Soft Machine's stock has never been higher thanks to a steady stream of archival recordings that continue to surface and throw light on the importance of varying line-ups. The quintet version of the band, captured at the Théâtre de la Musique, Paris on March 2nd, 1970 for France's Pop Deux TV show features that short lived and often lamented line-up of Lyn Dobson and Elton Dean on their respective reeds accompanying the obligatory Hopper, Ratledge, and Wyatt. The Paris date in March caught Dobson near the end of his tenure which came two weeks later. Suffice to say, the historical value of this recording is undoubted while rooted in the five-man line-up that was joyous, but sadly all too brief. London Calling bends your ear with a rare, captivating performance from our beloved Softs, live in Paris, 1970. Covering their first two albums and songs exclusive to performances from this period. Includes the entire Pop Deux TV broadcast. Visually interesting, but moreover, stunning to hear. Personnel: Mike Ratledge- Lowrey organ, Hohner pianet; Robert Wyatt - drums, vocals; Hugh Hopper - bass; Elton Dean - alto sax, Saxello; Lyn Dobson- soprano sax, flute, voice, harmonica. Includes full color, eight-page booklet with background liners and rare images. Digitally remastered for greatly enhanced sound quality.
PRICE: $23.50
CHICALOYOH L'Inventaire des Disparitions LP
Through her almost ten years career, Alice Dourlen has had a fascinating trajectory, label Màgia Roja dare to say one of the most fascinating of this decade; never staying too much in one territory she has explored ritualistic psychedelicism, folk, experimental music, industrial, collaging, spoken word, minimal synth to the point that those tags have become meaningless. Never being generic always a true original, each phase sees her more and more in her own world. And here she comes with some of her most personal work: tribal, minimalist, kaleidoscopic, surreal, and fiercely innovative but also at times beautifully melodic. Surprisingly varied even by her standards with her voice as glue making L'Inventaire des Disparitions a solid and impressive work. FFO: Grouper, Nico, Nurse With Wound, Catherine Ribeiro, Roberto di Simone. Tracks of L'Inventaire des Disparitions have been recommended by The Quietus on their monthly Rockfort mix and by the Independent Music Podcast in UK.
MD 005LP
PRICE: $23.50
CAT #: MD 005LP
LP version. Songs For These Times is Greg 'Stackhouse' Prevost's third solo album. A live-in-the-studio, acoustic guitar in hand experience, with the sole backing of "brother" Alex Patrick on counterpart slide or acoustic lead. Along with selected favorites that he has always wanted to record acoustically, Prevost has also included some of his own newly written compositions as well, which, as pointed out by David Fricke in the album liner notes -- perfectly fit in a track list of tunes written over half a century ago. Songs For These Times, a classy, honest record in which Prevost, with no backing band or electricity, showcases his musical DNA as well as the style and attitude that have always been his trademark, and will continue being so. Mastering by Bob Irwin (Sundazed Records). Liner notes David Fricke (Rolling Stone).
MD 006CD
PRICE: $19.50
CAT #: MD 006CD
Songs For These Times is Greg 'Stackhouse' Prevost's third solo album. A live-in-the-studio, acoustic guitar in hand experience, with the sole backing of "brother" Alex Patrick on counterpart slide or acoustic lead. Along with selected favorites that he has always wanted to record acoustically, Prevost has also included some of his own newly written compositions as well, which, as pointed out by David Fricke in the album liner notes -- perfectly fit in a track list of tunes written over half a century ago. Songs For These Times, a classy, honest record in which Prevost, with no backing band or electricity, showcases his musical DNA as well as the style and attitude that have always been his trademark, and will continue being so. Mastering by Bob Irwin (Sundazed Records). Liner notes David Fricke (Rolling Stone).
PRICE: $15.00
CAT #: MKY 005CD
"Los Angeles independent label Minky Records is issuing two crucial, hitherto unheard slices of music recorded in the '80s by the late L.A. punk rock legend Jeffrey Lee Pierce and his band The Gun Club. On June 12, the company will release an exclusive single version of the Pierce original 'Bad Indian'and a cover of Jody Reynolds' 'Fire of Love.' This Minky 45 will be accompanied by an even more impressive vault discovery: Soulsuckers On Parade, a full-length 1984 Pierce solo recording drawn from an abortive session for the cowpunk compilation album Don't Shoot, first released by Zippo Records in the U.K. The vocalist is supported by an all-star unit comprising guitarist Dave Alvin, drummer Bill Bateman, and the late pianist Gene Taylor, then of the hot L.A. roots combo The Blasters, and bassist Jack Waterson of Green On Red; Chris D. (Chris Desjardins, who also produced the date) and The Gun Club's Kid Congo Powers guest on background vocals. Featuring covers of songs originated by Willie Nelson, Big Joe Turner, and Creedence Clearwater Revival, a wacky, profane blues Pierce improvisation called 'New Way of Walkin'', and a rampaging, demented seventeen-minute original, 'Walkin' Down the Street (Doin' My Thing)". An unlimited expanded CD package (with studio chatter and improvised vocals and jams) on the same day."
MT 041LP
PRICE: $23.00
CAT #: MT 041LP
CROCODILES Best of Shitty Times LP
While the world was spinning off its axis in the year 2020, California born, but now Mexico City and Paris based noise pop/indie pop band the Crocodiles spent their time in isolation recording three volumes of cover songs originally released on ultra-limited edition cassettes. Here they present to you, on vinyl, 11 tracks for Best of Shitty Times, ranging from punk to garage rock, from new wave obscurities to Freda Payne! An idea they had for a long time, after having released seven albums and several 45s and having been compared to "a mix between the Jesus and Mary Chain and the Archies". So take a deep breath and shelter yourself within a fuzzy vortex of rock n' roll.
MT 042LP
PRICE: $23.00
CAT #: MT 042LP
BIG BOY PETE The Cosmic Genius of Big Boy Pete LP
Like an English Kim Fowley produced by Joe Meek or a one-man Barrett-era Pink Floyd, Big Boy Pete is the unsung hero of the sixties. This mysterious British guitarist (real name Pete Miller) cut some oddball non-hits in the '60s that have amassed quite a reputation among psychedelic collectors, like "Baby I Got News for You," a Troggsish number with wads of fuzzy guitar, backed by Peter Frampton and members of the Herd, or "Cold Turkey" with its eerie blasts of spaceship-elevator psychedelic guitars and biting mod-psych vocals, later covered by the Damned (under the guise of Naz Nomad & the Nightmares), before relocating to San Francisco to work as a producer and engineer, occasionally releasing albums on tiny labels. This first ever vinyl compilation features his best '60s stuff on one side and seven unreleased gems from the '70s on the other -- ranging from wild and fuzzy garage to psych pop and freaky country-rock! Includes a psychedelic color inner cover with lyrics and text.
MR 414LP
PRICE: $25.00
CAT #: MR 414LP
Munster Records present a first-time reissue of The Ampex's self-titled album, originally released in 1967. The Ampex quickly built a large fanbase in their native Colombia after releasing a four-song EP and a full album on the label Estudio 15. They were also in-demand musicians that local pop stars would hire for both live shows and recording sessions. Although it may look like these young rockers had a promising future ahead, the beat sound went out of fashion in Colombia and the members of the band realized their project had come to an end. Before disbanded (and two of their members would join The Time Machine), The Ampex recorded a self-titled album that was released on Discos Fuentes. Although the label was mostly focused on tropical sounds, Fuentes also welcomed the emerging rock n' roll sounds of the time and had already released a rock compilation in 1966, obtaining substantial sales figures. This elusive gem of Colombian garage contains some raw and powerful takes on the repertoire of their beloved The Rolling Stones, The Byrds, The Hunters, The Easybeats, The Yardbirds, The Executives, The Lovin' Spoonful, and The Wailers, often sung in a shameless attempt to translate the original lyrics to Spanish. With the copies of the original 1967 release being almost impossible to find in any condition, Munster Records present The Ampex reissued here for the first time.
MR 415LP
PRICE: $25.00
CAT #: MR 415LP
Munster Records present a reissue of The Love Depression's self-titled album, originally released in 1968. In the second half of the '60s pop music started to turn a bit darker. The Beatles had increasingly added a more serious tone into their lyrics and artists like Taste, Cream or the Jimi Hendrix Experience stressed out the instrumental elements of the songs. On the other hand, the exuberance of soul music was at its best thanks to the Motown or Stax recordings. Around 1968 a new band was formed by three young men in their 17-18 years who were well aware of the current state of art in pop music internationally. The Love Depression was the Venezuelan response to the hippest music of the time. Richard Aumaitre, bass guitar, had enjoyed some success while member of Los Darts, and guitarist Alvaro Falcón was already attracting some attention as part of The Laymen, in Washington DC where he relocated for his studies, and also back in Venezuela as a member of Los Snobs. Lastly, Jesús Toro "Torito" has a fun story: he used to sing in the shower and was heard by his Cuban neighbors that happened to have a band, Los Espitas, and invited him to join them. "One day I listened to The Beatles songs and my life changed forever" he recalls. He would later be part of other bands such as Nasty Pillows and after The Love Depression disbanded he joined Tsee Muds. Stephen Scott, member of the seminal Venezuelan rock band Ladies WC, still remembers that "at the time there were very few bands in the country breaking the boundaries as The Love Depression was." Their only album was recorded in April 1968 and is considered one of the Venezuelan rock masterworks, full of fuzz guitars with a psychedelic twist. Unfortunately, their musical journey did not last too long... They took part in different events like the well-remembered Experiencias Psicotomiméticas, and also Pop&Op Musical as well as a number of shows at the many branches of the most important Hotel chain in the country. They even had a song featured in the long forgotten Venezuelan film Dana. However, the lack of confidence in their future career in the music industry made them decide to disband, although Torito and Álvaro would still have a successful career in other music projects.
MR 417LP
PRICE: $25.00
CAT #: MR 417LP
LOS TEDDY'S Doce Psicoexitos LP
Munster Records present a reissue of Los Teddy's Doce Psicoéxitos, originally released in 1968. Los Teddy's were natives of the Peruvian Amazon region of Iquitos. The band was created in 1966 and started to play the early-afternoon slots at Lima's venues, along with a bunch of other bands from Peru's capital city. Tony Marin, frontman of the band, was soon nicknamed "the barefoot singer" following his habit of not wearing shoes at any of their gigs. The other members were Willy Angulo (guitar), Markov Rios (guitar), Pepe Castro (drums), and Carlos Denegri (bass). After a few years being one of the most solid groups in the Lima's scene, MAG signed them to record an LP that was finally released in 1968. As in many other similar albums recorded at that time by Latin American bands, the track list contains covers of international chart-hits of the year, including songs by The Rolling Stones or The Doors (an outstanding take on "Hello I Love You" with Spanish lyrics and raw fuzz guitars). The lysergic original "Efectos (Effects)" is also one of the strongest tracks of the album, proving there was much more than just standard covers in this band's repertoire. Doce Psicoéxitos remains as the only album ever released by Los Teddy's and an essential addition to any collection of raw guitar sounds from late '60s Peru, a fascinating scene that is currently being rediscovered by so many garage/beat fans from around the world.
MR 7324EP
PRICE: $38.50
CAT #: MR 7324EP
TRAFFIC SOUND A Bailar Go Go 3x7"
Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists exploring baroque pop, psychedelic rock and early prog. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. Virgin, its brilliant debut album, released in 1970, showed the band swimming like a fish in the acid waters of psychedelia and experimentation. This LP also showcased the group's skill at developing their own quality repertoire, which was rare on the Peruvian rock scene at that time. Suddenly, that same year, Peruvian record stores received another musical delivery signed by the band, but with a title and simple design that contrasted with the intricate graphics of their first album. The six songs on the vinyl record were already familiar to diehard fans of the band, as they had been Traffic Sound's first three singles released sometime between the end of 1968 and halfway through 1969. A Bailar Go Go was the title of this mini-LP which included the first three singles recorded in the early days of the band before Virgin was released, and solely comprised cover versions of songs by artists such as Cream, Eric Burdon & The Animals, Jimi Hendrix and Iron Butterfly. These six tracks deserve to be placed in the right spatial and temporal context, as three of the best singles of electrifyingly advanced rock from 1968-1969. A Bailar Go Go is the portrait of one of the best rock bands in Peru taking its first steps and is reissued here on separate vinyl 45s for the first time.
MR 7333EP
PRICE: $14.00
CAT #: MR 7333EP
MILLENNIUM, THE I Just Don't Know How To Say Goodbye/Such A Good Thing/Prelude - To Claudia On Thursday 7"
The Millennium stands as one of the most remarkable psychedelic bands from '60s California despite the sales of their only LP, Begin, did not match the big expectations created by the great critical acclaim received and the huge financial costs of its recording. Although conceived as a studio group by Curt Boettcher (Ballroom, Sagittarius), The Millennium was a Real band despite never performed publicly. Following a carte blanche deal with Columbia, he assembled a group of talented Californian singers and musicians (Lee Mallory, Sandy Salisbury, Joey Stec, Doug Rhodes, Michael Fennelly, and Music Machine drummer Ron Edgar) to record an album, resulting in a sublime pop masterpiece, combining sunny melodies, outstanding vocal harmonies and psychedelic touches. This release presents some rare recordings and demo versions by the band on vinyl for the first time. "I Just Don't Know How To Say Goodbye" and "Such A Good Thing" previously unreleased on vinyl.
MR 7334EP
PRICE: $14.00
CAT #: MR 7334EP
LOS MUTABLES Pasos En La Luna/Suspenso En El Espacio 7"
The band was created by Guillermo Garavito (drums) and Rodolfo Vergaray (guitar) in the Rimac neighborhood, Lima. Two more friends would join them later: Moisés Quino (guitar) and Daniel Rosario (bass). Peru had a thriving psych rock scene in the '60s and '70s and MAG (Peruvian label named after the initials of its founder, Manuel Antonio Guerrero) was responsible for most of the output of the best local bands: Traffic Sound, Los York's, Telegraph Avenue, Laghonia... In 1969, Los Mutables had their space-age inspired recordings released on MAG. An astonishing mix of outer-space sounds, raw fuzz guitars and groovy rhythms, recalling the best of the American garage groups of the time. This 45 remains as their only record ever released and we are now happy to reissue it for the first time in its full glory.
PRICE: $26.00
TELEVISION Double Exposure LP
This is the demo recording sessions from Television in 1974 under Brian Eno's guidance. The A side demos were recorded at Good Vibrations Studios in NYC with Richard Hell on bass, and produced by Brian Eno and Richard Williams of Island Records. It also includes three live tracks from CBGB's in 1975 including the unreleased "(I Look At You And Get A) Double Exposure", the band never recorded in studio. An abrasive 13th Floor Elevators number and the iconic Richard Hell "(I Belong To The) Blank Generation". It is fascinating listening to the early versions of these songs that eventually appeared on Marquee Moon. Each version is distinctly different having a "harder edge" to them and closer to the final released editions. Sound quality: very good stereo.
NS 4035LP
PRICE: $64.00
CAT #: NS 4035LP
PAN AFRIKAN PEOPLES ARKESTRA Live At Century City Playhouse 9/9/79 3LP
"Amazing 3LP set. The Pan Afrikan Peoples Arkestra on fire in 1979 in a complete two-hour concert. Super intimate and raw -- like sitting in the front row of this small club 41 years ago. Cut directly from original master tapes with no digital process whatsoever. Gatefold tip-on sleeve, and a replica of the original concert flyer, featuring archival photographs and a beautiful essay by Mark Weber."
PRICE: $22.00
Kool Keith is the most legendary trailblazer of hip-hop music. With characters spanning from Dr. Octagon to Tashan Dorsett to Black Elvis to Dr. Dooom, Keith is always delivering realness, spectacles in word and sound, and creating new worlds with his many auras. Scorn is the electronic beat project of acclaimed ex-Napalm Death drummer Mick Harris, the dark lord of ambient dub. Mick Harris's prolific ventures across numerous projects include Painkiller (with John Zorn and Bill Laswell), Quoit, Lull, Monrella, and many more. Submerged is the "King of Underground Drum n Bass DJs", having pioneered the scene for the hard sound from Astana to São Paulo to Kiev to Brooklyn. He is the founder of the galactic enterprise that is Ohm Resistance. "Distortion" is a collaborative single with some of the 100% certified dopest Kool Keith verses. He is tuned into his co-authors, dropping lines about "Power sources, Mediterranean bosses", going "52 states, European, Worldwide", discussing "more power to explore", and knowing how to "stick my hand out the speaker and reach y'all". A massive energy liftoff occurs as Keith joins his multiverse with that of the Ohm Resistance artists. Mick Harris's instantly recognizable bludgeoning beat carries the weight, as he trades off bass blast duties with the organic overdriven bassline of Submerged. A warning shot fired in advance of Scorn's album, The Only Place, this single adds the missing element to Scorn that brings out the richness and flavor of Mick Harris behind the mixing desk. "I'm so happy to be working with a great voice -- I could do more of, it adds another dynamic to Scorn." says Harris. Submerged explains his usual streak of unusual luck "I had a bassline I had written and wanted to send to Mick Harris for Scorn. When the opportunity came to work with Kool Keith, Mick made his beat, and my riff fit exactly -- so we coordinated the forces to put this record together." With Kool Keith being one of the most-named influences by many of the Ohm Resistance artists, his arrival to the label couldn't have come at a better time -- a integrated circuit across four dimensions, connecting three legendary musicians around the globe.
PD 025CD
PRICE: $15.50
CAT #: PD 025CD
2021 restock Although Machine was completed in 1971, it was not released until 1973, shortly after the release of his Journey Into Space. Machine is therefore the first major composition by Trevor Wishart. It was composed at York University and was originally issued on vinyl as three sides of a highly adventurous 3LP box set called Electronic Music from York, on the University's own record label. In common with Journey Into Space (also on Paradigm Discs), Machine makes use of a large number of volunteer contributors, mostly from the student body at York. With this recording, however, there are no instruments used. Instead, the music of Machine is made up entirely from a combination of spoken text, carefully directed improvising choirs that take their lead from pre-recorded factory sounds. These are extensively mixed and edited with yet more collected machine sounds and other sources of musique concrète, as well as occasional use of basic electronic sources. The scale of this work, and the degree of preparation involved in scoring it, seems to have more resonances with the world of theater or film rather than tape composition. Much of Wishart's early work involved the use of musicians and artists being directed to perform in new ways, outside of their usual remit. A combination of late '60s openness, detailed scores that provide frameworks for improvisation and slavish editing have resulted in an incomparable sound work. With a continuous playing time of one hour, the wild and previously-unexplored terrain covered by this pioneering work of British experimental music moves in turn through the full range of possible audio landscapes from the oceanic calm of the doldrums to ear-splitting factory mayhem.
PRICE: $17.00
CAT #: PART 4113CD
VA Upside Down: Coloured Dreams #9 from the Underworld, 1967-1970 CD
A penultimate Volume 9 presents another whopping dose in a lysergic pop extravaganza, with 20 flower-power wonders from way down under, lovingly restored to their former, formidable glory. Featuring original recorded artifacts from Procession, The Gathering, Mark IV, City Stompers, Young Once, The Kompany, Lloyds World, Bruno, The Silk 'N' Dreams, Ronnie Burns, Shane, and more... Includes a 20-page, full-color booklet with background liner notes and rare archival photos from the period. Perfectly re-mastered with loving care, Volume 9 helps to conclude the acclaimed Upside Down series. Also features Velvet Underground, Doug Parkinson In Focus, R. Black & The Rockin' Vs, Michael Scott Group, The Second Movement, Hi Revving Tongues, and Marty Rhone.
ASH 3035C-LP
PRICE: $28.50
CAT #: ASH 3035C-LP
LES RALLIZES DENUDES Blind Baby Has It's Mother's Eyes (Blue Vinyl) LP
Reissue on 180 gram, blue vinyl; hand numbered editions. Legendary Japanese rock outfit Les Rallizes Dénudés were formed in 1967 and incredibly, for a group that had only one official release (Oz Days Live, a double vinyl compilation release in 1973), played their last gig almost 30 years later in October 1996. The band's name apparently means "fucked up and naked," which more than adequately describes their music. Formed by band leader Mizutani Takashi, the music remained remarkably familiar over the years, and is best described as high volume, raw, lo-fi, repetitive, feedback-drenched guitar-noise fests with nods in the direction of The Velvet Underground and Blues Creation, but without the electronics. Radical left-wing politics were never far from the band's agenda, with one original band member (Wakabayashi) being involved in the Japanese Red Army's hijacking of a flight to North Korea. Consequently, the group's live appearances became less frequent and increasingly clandestine. All the band's albums were released in very small quantities, and because of the group's reputation for secrecy and violence, as well as the difficulty in tracking down their recordings, Les Rallizes Dénudés has assumed almost mythical status. Blind Baby Has It's Mothers Eyes sits at #11 on Julian Cope's list of top Japanese albums. "Massive slabs of distortion inhabit every seam of this monstrously linear album" --Julian Cope (Japrocksampler).
PRICE: $15.50
FAME & THE BLUE FLAMES, GEORGIE The Complete Live Broadcasts (BBC Radio Sessions 1964-1967) 2CD
Georgie Fame was different. The bulk of "rhythm and blues" groups followed the Stones image: scruffy urchins who you probably wouldn't invite around for tea, but his image was totally different. Georgie and the Blues Flames looked more like members of the Stax/Volt Revue than the Downliners Sect. And then there was the music. No harmonica and guitar Chicago blues here, Fame opted for a mix of jump blues mingled with early soul, the sort of music that had been emerging in US cities like Memphis and Detroit. Hammond and horns playing jazz, Latin, Stax, and ska. What you have on this double-CD set is 47 songs and 17 interviews recorded for the BBC between 1964 and 1967, and all in superb quality sound.
PRICE: $23.50
Georgie Fame was different. The bulk of "rhythm and blues" groups followed the Stones image: scruffy urchins who you probably wouldn't invite around for tea, but his image was totally different. Georgie and the Blues Flames looked more like members of the Stax/Volt Revue than the Downliners Sect. And then there was the music. No harmonica and guitar Chicago blues here, Fame opted for a mix of jump blues mingled with early soul, the sort of music that had been emerging in US cities like Memphis and Detroit. Hammond and horns playing jazz, Latin, Stax, and ska. What you have on this LP is 18 songs broadcast on the BBC in 1965 -- presented here in sparkling hi-fidelity sound. Notes by Smiler Anderson.
PRICE: $15.00
ALASTOR Onwards And Downwards CD
"Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
PRICE: $23.00
ALASTOR Onwards And Downwards LP
LP version. "Excelsior! It's the hail of yore that one should go ever onward and upward. And so, fittingly Onwards And Downwards is the occultist Swedish band Alastor's clever call to arms... and also a reflection of the collective dark state of mind these days. 'If our last album Slave To The Grave were about death, this record is more about madness,' says guitarist Hampus Sandell. 'You can look at the whole record as one person's gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.' Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make one's skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy. 'It's a more focused record but at the same time it's more personal and naked. More raw emotion and pain,' Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their Blood On Satan's Claw EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album's more deliberate and tighter feel."
PRICE: $20.00
Repressed! LP version. "Propeller was the fifth album by Guided By Voices, and was intended to be the group's last. Released as a limited edition of 500 LPs in 1992, the album featured handmade covers and blank labels to keep expenses as low as possible. Their other albums hadn't sold much, why would this one? Robert Pollard had a family to support and his musical aspirations had not exactly been a boon to their bank account. As fate would have it, the band wound up releasing an album chock full of gems Pollard had stockpiled, and for the first time sounded distinctly like the band that fans have since come to love. Propeller also marks the return of Tobin Sprout to the GBV fold, along with an increased songwriting presence. From anthem-to-be 'Over the Neptune' to the effortless melodies of closer 'On the Tundra,' Propeller is a hell of a ride, and remains one of the most important albums in the band's discography. The vinyl edition has been out of print for a decade, and features different cover art than previous pressings. The CD edition has been out of print for a minute as well, and is now housed in digipak format, also with a new, unique cover from one of the original pressings. And for the first time Propeller is available on cassette."
PRICE: $26.50
2021 repress. LP version. Otto A. Totland's modern compositional elements are most widely-recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K. Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the five-minute A-side of Sonic Pieces' 7", Harmony from the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style. Initial track "Open" fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios. With Pinô, Otto A. Totland appears out of the Norwegian landscape, sharing an achievement that will provide relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran.
PRICE: $20.00
SKIANTOS Inascoltable LP
2021 repress. Spittle Records present a reissue of Skiantos's Inascoltable, originally released in 1977. Inascoltable is the first album from Bolognese group Skiantos, the band that added a completely different flavor to the rock underground with their delirious performances and over the top lyrics. Released through Oderso Rubini's Harpo's Bazaar label (later Italian Records) in 1977 on cassette format, the album was recorded in one night in November 1977 in a session that was almost improvised. It was later printed on LP in 1979. This reissue from the original master does full justice to the insanely creative playing of the band fronted by Freak Antoni, who were true forerunners of demented rock and virtuous artists capable of colorfully interpreting all the non-standard rock movements from the British and American underground. This record wouldn't be out of place in the Zappa discography, although the whole turned out a little bit more punk...
PRICE: $20.00
CAT #: SOD 120LP
BLUE CHEMISE Daughters Of Time LP
2021 repress. Blue Chemise documents the hermetic sound world of Australia's Mark Gomes. Daughters Of Time follows 2017's brilliant full-length Influence On Dusk, released in micro-edition on Gomes's own Greedy Ventilator imprint. It is an elegiac set of vignettes recorded straight to dictaphone with minimal post-production. These pieces function in a manner akin to Loren Connor's evocative "airs", conjuring poignant, intangible senses of longing and nostalgia then disappearing well before overstaying their welcome. Regarding their genesis, Gomes points to a quote from Australian artist Robert Hunter: "It's like I'm external to them. They develop their own assertion and character; their becoming finished is a thing they decide themselves. It's unexplainable."
SR 503CD
PRICE: $18.00
CAT #: SR 503CD
EASTMAN, JULIUS Three Extended Pieces For Four Pianos 2CD
Four Pianos (1979-80): It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music, their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too. Includes 12-page booklet.Julius Eastman: There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic -- undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.The Performers: Nicolas Horvath, pianist and electroacoustic composer; Melaine Dalibert, a French composer and pianist; Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music; Wilhem Latchoumia, embraces both new music and the classical repertoire with success and charisma.
SR 515CD
PRICE: $15.50
CAT #: SR 515CD
"You should play the music very loud. If the neighbors don't complain, it's probably not loud enough." --Phill Niblock Four Walls Full of Sound is an electronic interpretation of the works of Phill Niblock by the Prague-based group Opening Performance Orchestra. This studio version, recorded at the re-set studio, was preceded by a live performance at the 2017 Ostrava Days Festival of New and Experimental Music. The cover was designed by Jaroslav Buzek and the booklet includes essays by Kurt Gottschalk and Petr Ferenc. Sound designer Stephan Mathieu took part in shaping the resultant sound of the recording. Includes eight-page booklet.
TR 324LP
PRICE: $23.00
CAT #: TR 324LP
2021 restock; LP version. Includes CD. In 2008, Robert Forster, one of Australia's most respected singer-songwriters, released The Evangelist, a work that was widely regarded as his best solo album; it more than lived up to the many high points of his legendary band The Go-Betweens. In 2015, seven years after that album, fans and critics alike may wonder what's been doing since. Quite a lot, as it turns out. Producer for acclaimed albums by Brisbane bands The John Steel Singers and Halfway. An extended stint as a music critic for the Australian periodical The Monthly that was so well received that a collection of his writings was published as The Ten Rules of Rock and Roll in 2009, and was reprinted in revised and updated form in 2011. Curator and compiler of G Stands for Go-Betweens: The Go-Betweens Anthology Volume 1 (2015), the first of three lavish box-set compilations charting the career of the iconic Australian band of which he was founding member, singer, and songwriter. Still, seven years is a long time, musically speaking. Time for writing songs, time for gathering musicians, time for preparing a refreshed creative direction that took shape as Songs to Play. Ten very different Robert Forster songs recorded on a mountaintop half an hour from his Brisbane home, in an analog studio, with a troop of young musicians: talented multi-instrumentalists Scott Bromley and Luke McDonald (from The John Steel Singers), Matt Piele (drummer from Forster's touring band), and violinist and singer Karin Bäumler. The resultant album is really like nothing he's ever done before, although it retains many of the qualities listeners know from his songwriting. His work remains highly melodic, with incisive, witty lyrics attuned to real people and real lives. The surprise is in the spirit of the record, its sense of adventure and fun -- especially after the meditative reflections of The Evangelist (recorded a year after the death of The Go-Betweens co-founder Grant McLennan). Seven years have brought a bolder, wilder approach to sound, and a set of truly inspiring compositions. Pop songs. Five minute epics. A bossa nova tune. Singer-songwriter classics. Experimental, detailed production assistance from Bromley and McDonald. It's no wonder that, from the album's opening lines on the super-charged "Learn to Burn," Forster is bursting to get out and tell his story. Seven years in the making. And worth every minute.
WIRE 449
PRICE: $10.00
CAT #: WIRE 449
WIRE, THE #449 July 2021 MAG
"The Wireless World: With the exponential growth in internet radio in recent years, and the explosion of online broadcasting during the pandemic, this special issue of The Wire maps a new golden era for radio as a medium for sound and music. The issue will include a directory, put together by The Wire's contributors, associates and contacts, of 100 innovative broadcasters across the globe who are pushing the boundaries of adventurous music and sound art. Our writers will celebrate innovations in the state of broadcasting, from field recorded improvisations and environmental broadcasts to filecasting and radio essays, taking in the most visionary DJs and anarchic organisations. Plus: pathbreaking pianist Matthew Shipp's Epiphanies column; plunderphonic king John Oswald's Inner Sleeve essay."
PRICE: $25.50
JASA, HUGO Estados De Animo LP
Vampisoul present a first-time reissue of Hugo Jasa's Estados De Ánimo, originally released in 1990. After over a decade of dictatorship, a process of democratic openness began in Uruguay in the early '80s. It was a time of social and cultural effervescence, Uruguayan music lived a particularly brilliant moment, marked by the emergence of a generation of artists who open-mindedly mixed the new global sounds that started to resonate across the country with their local and regional musical roots. Hugo Jasa was at the center of this new music scene. Some of the most interesting Uruguayan records released in the '80s were recorded in La Batuta studio, co-owned by Henry Jasa, Hugo's father. In the brief intervals the studio was available, Jasa started to experiment with musical ideas that he imagined for a dance piece. He also sought to merge the glamor of the '80s with Uruguayan Afro-candombe sound in his songs. A deep bench of national talent, as Eduardo Mateo (with whom Jasa went on the make the wonderful album La Mosca), Hugo Fattoruso, Jorge Galemire, or Mariana Ingold, took part in these sessions. Drum machines and Yamaha DX7 and Roland D50 synthesizers command the timbre of the album that was released at the end of 1990. The same year that the dance piece with choreography by Graciela Martínez was premiered by a group of dancers from the National Ballet. The album was released on vinyl with a single pressing of 300 copies. There were two dance performances and then the show was never put on again. Estados De Ánimo was the only album released under his name. The conjunction of machines and acoustic instruments, the harmonic sophistication, mix of candombe, electronic music, jazz and tango, its international sound with strong Uruguayan roots, made Estados De Ánimo a milestone for much of the music that followed in its wake. 31 years after it was first put out, Estados De Ánimo still sounds fresh and surprising, as creative and glowing as the time where it was conceived. OBI; includes insert with liner notes by Uruguayan music writer Andrés Torrón. A new title in the series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable addition to our largely acclaimed compilation América Invertida, focusing on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again.
PRICE: $26.50
AFROSOUND La Danza De Los Mirlos LP
Vampisoul present a reissue of Afrosound's La Danza De Los Mirlos, originally released in 1973. Afrosound was born from the desire of Discos Fuentes vice-president José María Fuentes to come up with a domestic version of the emerging African and Latin rock sounds coming from outside the country, inspired by groups like Osibisa and Santana. The mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. According to various sources, the 1972 tune "La Danza De Los Mirlos" (by Peru's Los Mirlos) emerged as a great success in Colombia and with it a new way of interpreting the country's most famous musical export, namely cumbia, through a Peruvian perspective. Afrosound would cover not only "La Danza De Los Mirlos" and name their debut LP after the song in 1973, but they would also faithfully reproduce the unique sound of their guitar hero Enrique Delgado. The first Afrosound recordings were made with a fantastic rhythm section consisting of talented musicians that had played with Fruko y sus Tesos. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called "inspiraciones"), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were sprinkled in to spice up the proceedings, providing a competitive edge that made the Fuentes sound so unique. La Danza De Los Mirlos kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno/cumbia hybrid while Fruko brings us the bomba-funk ditty "El Chorrillo" and the rocking cumbia Andina gem "Cabeza De Chorlito" where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia "Esperando Por Ti", proving that every tropical party has to have its down side as well. All in all, the dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. The original Fuentes artwork, with a far more outrageous "cheesecake" image, can be seen on the back cover.
PRICE: $26.50
Vampisoul present a reissue of Sebastião Tapajos and Pedro Dos Santos's Vol. 1, originally released only in Argentina in 1972. The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter. Following the success of our recent reissue of several recordings from these sessions -- Vol. 2 (VAMPI 212LP) Tudo É Moda (VAMPI 45073EP) -- Vampisoul present this Vol. 1. The connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo. Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina. Years later, when Brazilian rhythms were incorporated, along with jazz, to the spectrum of sounds regularly played at London clubs and a renewed interest in this album arose. The general vibe of this solid album is driven by an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the rhythmic approach provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth, like the outstanding "Himalaya". Also includes the killer Afro-samba "Mungangá", the experimental percussion numbers "Cantico del Agua" and "Solo De Bambu" and the hypnotic groover "Sorongaio". It is a necessary addition to the much-hailed Pedro Dos Santos album Krishnanda in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
PRICE: $26.50
LA PESADA Tomate Y Alandette LP
Vampisoul present a first-time reissue of La Pesada's Tomate Y Alandette, issued in 1978. Tomate Y Alandette by La Pesada is one of the best tropical records released by Codiscos. The album was a "one off" by an all-star ensemble of musicians and singers, many of whom had played with Fruko y sus Tesos, Los Hermanos Martelo, and other Colombian orchestras. The album showcases a diverse and eclectic range of stylistic modes and genres. There is cumbia, salsa, bolero, son montuno, descarga, and even calypso. The arrangements and instrumentation range from flute and violin charanga in a "típico" Cuban mode (augmented by a trombone section) to Colombian percussion-heavy cumbia, and from the Willie Colón style of brash Nuyorican trombone salsa to the more Cuban conjunto trumpet sound like La Sonora Matancera. Through it all, the jazzy arrangements keep things fresh and swinging. Colombian artists were absorbing all sorts of influences, both old and new, from Cuba, the US and Puerto Rico, but putting their stamp on the music with a different perspective coming from their own background, and La Pesada is a prime example of this intriguing tendency. The vocals were handled by the excellent Afro-Colombian sonero Hugo "Sabor" Alandette who had been in Los Seven Del Swing, and would go on to join Los Chicos Malos and then form Grupo Melao in the 1980s. In addition, Mike Char, who was a good friend of many people at Discos Fuentes and wrote quite a few hits for Fruko, joined as an invited guest, contributing the groove-heavy yet bittersweet "La Sigo Queriendo" and singing lead on "Ángel Sonando". A number of the songs sound like classic '70s Fruko y sus Tesos, but filtered through a charanga lens with a heavy Conjunto Libre influence. "Cumbia Y Tambó (En La Lluvia)" has been an international dance floor staple for many years. However, the real salsa bomb is "Hojas Secas". The upbeat calypso is a fun version of Alan O'Day's funky 1977 hit "Undercover Angel" retitled "Ángel Soñando". Another cover is "El Paso De Encarnación", first made famous by Orquesta Aragon and then Larry Harlow, done here in a faithful charanga típica rendition. La Pesada also took Mexican heart throb crooner Juan Gabriel's 1974 mariachi hit, "Lágrimas Y Lluvia" and turned it into a super hot "salsa con charanga". The album closes with a fantastic guaguancó dedicated to Cali, the city that loves to salsa, where La Pesada channels Willie Colón and Héctor Lavoe to great effect. Remastered sound.
PRICE: $34.50
MEIRELLES, HELENA A Rainha da Viola Caipira 2LP
It's about time to uncover the most unknown Brazilian music style. Unlike other Brazilian musical traditions as samba and bossa-nova, never ever anything of Caipira music has been released outside Brazil. Repairing this huge gap, Vampisoul presents A Rainha da Viola Caipira, a stunning 25-track compilation of the revered "Queen Of The Viola Caipira", Helena Meirelles. To start with, what is a viola? It looks like an acoustic guitar but is not. It has nearly the same shape but it is slightly smaller. Instead of the six or twelve strings, it has ten strings, paired in duplets of five strings. It has a very distinctive sound, having an enhanced treble, and a sharper reverb. The sound must be played with a hard pick because its original steel strings are thicker than the ordinary ones. The viola is the main symbol of música caipira or, may we call it, caipira sound. Caipira music cannot easily be portrayed as country music or, directly, encapsulated in folk patterns, even though it contains ingredients from both of them. On top of that, it also bears an influence of guarânia (a Paraguayan slow polka played in minor scales) and corrido and ranchera (specific variations of the Mexican folklore). There's also a shadow of Mexican mariachi-style. Everything on Helena's life or art was exquisite and unique to say the least. Mother of 11 sons, estranged from all of them for 30 years, mid-wife by trade and a very late musician to debut in public (she was 68 years old when she started to record her debut album), she was born on the August 13th, 1924, and passed away in 2004. Considered by the Guitar Player Magazine, one the 100 greatest guitar players of all time, don't miss the chance to discover a brand-new kind of (Brazilian) folk music.
PRICE: $12.50
CAT #: VAMPI 45003X-EP
BATAAN, JOE Chick-A-Boom/Cycles Of You (Yellow Vinyl) 7"
Yellow vinyl; edition of 300. Back in 2004, Vampisoul played a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album Call My Name (VAMPI 065CD/168LP), written and produced by Daniel Collás. But first came out the preview 45 Chick-A-Boom/Cycles Of You, which quickly became a DJ favourite and guaranteed dancefloor filler, long out-of-print until now. Collás explains how it all happened: "This whole project grew out of a song called "Cycles Of You", which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to. By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single."
PRICE: $12.50
CAT #: VAMPI 45078EP
Music travels and transforms itself. Sometimes along the way similarities arise in sonic paths that are distant to each other. The African roots of popular genres in different parts of the World are out of question as so is the big influence of modern Afro-American styles such as rhythm n' blues or jazz in the development of diverse local scenes. While in the case of Honduras' mighty band Los Robbins their syncopated and bass-enriched style was a declared (and successful!) attempt to play the hip rhythm of the time, rock steady, most probably arriving via the neighboring Belize into this Central American country, you can only wonder why Lito Barriento's greatest hit "Cumbia En Do Menor" (1965) recalls Jamaican sounds almost as much as big-band jazz while keeping all the right ingredients of its Latin essence. You can think of a dream meeting between Glenn Miller and The Skatalites at the Discos Fuentes studios in Colombia and you will get the picture... Two stunning party tunes that will please the Latin music collectors as much as those into the Jamaican genres. A new nice addition to Vampisoul's Tropical 45s series.
VL 900082LP
PRICE: $28.00
CAT #: VL 900082LP
2021 restock. Transa is the fourth album by Brazilian musician Caetano Veloso, released on 1972 by PolyGram. Like its predecessor, it was recorded while the artist was exiled in London, though he returned to Brazil shortly after completing it. Evocative, eclectic, intimate, and rhythmically complex, Transa contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The record was cut in 1972, shortly after Veloso's return from political exile in England. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia," (ending with the wise line "That's What Rock 'n Roll Is All About") close out the set. Transa is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop -- or brilliant, original pop in general. 180 gram vinyl.
VL 900389LP
PRICE: $28.00
CAT #: VL 900389LP
OS MUTANTES A Divina Comedia Ou Ando Meio Desligado LP
2021 restock; Vinyl Lovers present a reissue of Os Mutantes' A Divina Comedia Ou Ando Meio Desligado, originally released in 1970. This was the third album from Os Mutantes, the geniuses of wacked out Brazilian psychedelic rock. They may have been trying to pay homage to their better known icons back in the States, but in doing so they created something that went beyond all that until, 30 years later, they became the ones that everyone was trying to imitate. This album, further testimony to their limitless creativity and considered by many to be their best, was recorded during the height of the Brazilian military regimes crack down on artists, and fellow members of the Tropicalia movement, Caetano Veloso and Gilberto Gil had already been sent into exile in the UK. 180 gram vinyl.
PRICE: $25.00
CAT #: WRJ 001LP
2021 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.
PRICE: $19.50
CAT #: WYS 026CD
GLAARE Your Hellbound Heart CD
When it comes to explanations for what exactly Glaare has done this time around, you need not look much further than the name of the album itself. Your Hellbound Heart, just like the book it's named after, is the embodiment of pleasure granted to someone after a time of extreme torture. Its relation to the '80s classic movie Helllraiser, as well as countless other nostalgic stories involving familiar metaphors of life journeys, is most certainly not by accident either. Don't be fooled by its synth heavy dance introduction. Behind the relentless party your face off, drive faster 'till you crash tracks is anything but a story about a good time. This album is the perfect representation of what would have been running through Sarah Conner's head while she did chin-ups in the looney bin. Waiting for the day that she gets her revenge on a world that's gaslighting her. In fact, one of the songs is none other than "T2" in honor of the apocalyptic cautionary tale. The process for these California natives has always been no process at all. They firmly believe in letting the album write itself and just submit to what it wants as though it is an entity in and of itself that demands from its members the way a dictator would. If their first album To Deaf and Day was the aftermath of when your heart breaks, then its successor is the aftermath of when your mind breaks.
PRICE: $29.00
CAT #: WYS 026LP
GLAARE Your Hellbound Heart LP
LP version. When it comes to explanations for what exactly Glaare has done this time around, you need not look much further than the name of the album itself. Your Hellbound Heart, just like the book it's named after, is the embodiment of pleasure granted to someone after a time of extreme torture. Its relation to the '80s classic movie Helllraiser, as well as countless other nostalgic stories involving familiar metaphors of life journeys, is most certainly not by accident either. Don't be fooled by its synth heavy dance introduction. Behind the relentless party your face off, drive faster 'till you crash tracks is anything but a story about a good time. This album is the perfect representation of what would have been running through Sarah Conner's head while she did chin-ups in the looney bin. Waiting for the day that she gets her revenge on a world that's gaslighting her. In fact, one of the songs is none other than "T2" in honor of the apocalyptic cautionary tale. The process for these California natives has always been no process at all. They firmly believe in letting the album write itself and just submit to what it wants as though it is an entity in and of itself that demands from its members the way a dictator would. If their first album To Deaf and Day was the aftermath of when your heart breaks, then its successor is the aftermath of when your mind breaks.
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