Forced Exposure New Releases for the Week of 11/21/2022
New music is due from Haleiwa, David Grubbs & Jan St. Werner, and Agents of Time, while older music is due from Robbie Basho, Gavin Bryars, and Amon Düül.
FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 11/21/2022
we also accept orders via FAX at 781 321 0321
and via mail:
FORCED EXPOSURE / 60 Lowell Street / Arlington, MA 02476 / USA
for more information about shipping or ordering
please refer to our FAQ
direct any questions to
3000 GRAD RECORDS (GERMANY)
CAT #: 3000GRAD 022CDMOLLONO.BASS Together CD
The third Mollono.Bass album is dedicated to what we need most. As inhabitants of the same planet, as members of a free society, and as a culture. Everyone has to stick together more than ever, rather than drifting further and further apart. At the same time, Together brings together everything Mollono.Bass stands for since more than 20 years: Ritualist Afro-influences and acid loops, the sensual physicality of house, the laidback boost of dub techno, analog depth and digital highs, hope transcribed into groove and utopia set into rhythmic motion. It's the dynamic novelty and pioneering spirit of the arrangements that reflect the unmistakable signature style of this producer. True to the traditional idea of an album, complete with previously unreleased tracks and special versions, Together is a highly immersive listening experience from start to end and works beautifully on the dancefloor and far beyond it. Features Bonfante, Rodden von Ast, and Andy's Echo.
CAT #: ARA 009EPPOLYGONIA Living Patterns 12"
ARA welcome a new incredible talent. Polygonia created a landmark record of avant-garde dance music called Living Patterns. The six tracks are inspired by nature, converting the complex structures of plants and animals into spiraling pulsations and fractal textures. Polygonia represents a multidisciplinary music and art project conceived by Lindsey Wang from Munich, Germany. She draws inspiration from her many years of practicing various acoustic instruments and her keen interest for other cultural forms of expression, which she translates into the digital language of electronic music and art. The soundscape of her own productions conveys a mystical, organic character, and features driving complex rhythms.
BERTHOLD RECORDS (GERMANY)
CAT #: BR 322133CDVOLLBRECHT, TIMO Givers & Takers CD
Fly Magic is saxophonist Timo Vollbrecht's longstanding signature ensemble. A genre-exploding unit with a bold sense of creativity and intent. Following two highly acclaimed releases (2016's Fly Magic and 2018's Faces in Places), Givers & Takers marks the band's next chapter. Recorded while on tour, it captures the chemistry that the four musicians developed on the road, presenting a new vision that expands on the sonic path Vollbrecht has been refining for over a decade.Timo Vollbrecht is an internationally performing saxophonist, composer, and reeds player. Described as "luminously fine" by the New York City Jazz Record, Timo creates a magical blend of emotional intensity and vivacious energy, resulting in a genuine sound that often depicts the sensation of flying. Based in between his home in Lower Saxony, New York, and Berlin, he is particularly active in the international jazz and contemporary music scenes. As a Fulbright scholar, he holds a master's degree in jazz saxophone from New York University where he studied with Mark Turner, Stefon Harris, and Joe Lovano. Currently, he is an Adjunct Professor at NYU Steinhardt's Jazz Studies Department. He is also completing his PhD with a dissertation on "Manfred Eicher & ECM Records: The Creative Process at the Intersection of Music Production, Composition, and Performance." With his quartet Fly Magic he combines elements from jazz, post-rock, minimalism, new music, electronic music, and contemporary sound culture. Acclaimed for his rich tone and unique musical writing, Timo has released several albums as a leader and sideman and won numerous awards. Grammy-Award winning saxophonist Branford Marsalis invited him to perform with his quartet at the iconic Village Vanguard, after having collaborated at the Festival International de Port-au-Prince in Haiti.
BLACK TRUFFLE (AUSTRALIA)
CAT #: BT 092LPCUNI, AMELIA Mumbai 04.02.1996 2LP
Following on from the stunning recording of her 1992 performance at the Berlin Parampara Festival (BT 079LP, 2021), Black Truffle continues its documentation of the work of Berlin-based Italian singer Amelia Cuni, one of the great contemporary exponents of dhrupad, the oldest surviving style of North Indian classical vocal music. Beautifully recorded in concert at Vishweshwarayya Hall, Mumbai 04.02.1996 presents expansive performances of three ragas stretching across four sides and almost one and a half hours of music. Beginning with the serene Raga Lalit, Cuni dwells for over twenty-five minutes on its opening alap movement, accompanied only by tanpura, her limpid yet full-bodied voice moving from graceful exposition in free tempo to increasingly rhythmically active variations, gradually spiraling upward in register. She is then joined by master pakwahaj player Manik Munde for the raga's dhrupad and dhamar sections, the resonant tone of the drum and his constant invention with the complex 14-beat cycle serving as the perfect accompaniment for Cuni's ecstatic melodic developments. On the more solemn Raga Bhairav, Cuni's alap, again stretching out over a whole side, is particularly notable for its powerful held notes and mastery of microtonal movement of pitch. After Munde returns for another rhythmically intricate dhamar movement, the record ends with the buoyancy of the Raga Alhaiya Bilaval, whose mode has, for the Western listener, an unmistakably "major" quality. The rapturous applause that greets the performance is reflected in a remarkable selection of press clippings contemporary with the recording, which demonstrate Cuni's success with Indian critics. Comes in gatefold sleeve featuring stunning color photographs of Cuni taken by legendary Australian fashion photographer Robyn Beeche (who resided in India from the early '90s), Mumbai 04.02.1996 is a document of indescribable beauty and a moving testament to music's ability to cross national and cultural borders.
CAT #: BT 096LPCOLE, CRYS Other Meetings LP
Following on from 2021's acclaimed Sylva Sylvarum (BT 077LP), the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what she calls "an internal dérive, a journey that drifted through many places without a defining compass." Totaling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole's work, the opening moments of "The time between two durations of sleep" are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out "version", the percussive accents echoing around the stereo space. In one of the record's most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely new age timbres being taken on a long, tonally ambiguous wander. Cole's immersion in memories of travel comes to the fore in the final section of the first side, titled "Wat Paknam" after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, "Slices of cake", opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled "magischer Abfluss" (magic drain). Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision. Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.
CAT #: BT 098LPKATZENSTEIN, URI Audio Works 2LP
Black Truffle announce Uri Katzenstein's Audio Works, produced in collaboration with Holon's Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein's absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist's audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (some unheard) at the artist's death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein's time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterized the New York scene at this time, many of Katzenstein's recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein's electronic production calls up touchstones of skewed '80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On "Intermission", thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius's most unhinged efforts. Many of the tracks center on Katzenstein's multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On "Skin O. Daayba - Complex Habits no. 3", improvised resonance singing against a backdrop of echoing electronics and radio snatches. "Half Monk Half Herring" layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso's Araçá Azul. On "Attempt to Raise Hell", Katzenstein's distorted voice spits out streams of alliterative nonsense, while on the hilarious "Eric", Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On "Chicken", vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist's gallery works. Accompanied by extensive liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein's Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound. Gatefold sleeve.
CAT #: BT 099CDWOLFF, CHRISTIAN A Complete Anthology of Solo and Duo Violin Pieces CD
Black Truffle announce its second release from New York violin duo String Noise (Conrad Harris and Pauline Kim Harris), following on from their self-titled double-disc collection of compositions by Alvin Lucier (BT 061CD, 2020). Here, they present A Complete Anthology of Solo and Duo Violin Pieces by legendary American experimental composer Christian Wolff. The youngest and in some ways most radical of the composers of the New York School (alongside Brown, Cage, and Feldman), Wolff has ceaselessly rethought his approach throughout the seven decades of his composing career, moving from early experiments in radical reduction through indeterminacy, improvisation, and leftist political engagement to reach the limpid lyrical fragments of his most recent music. Beautifully recorded across two days by Ryan Streber with Wolff in attendance, String Duo's complete anthology of Wolff's work for violin solo and duo covers the entirety of the composer's career, from his earliest published work to a major new work written for this recording. Written by the teenaged Wolff in 1950 during his brief period studying with Cage, "Duo for Violins" is a beautifully austere experiment in extreme reduction, using only three chromatically adjacent pitches without octave transpositions. This recording also presents premiere recordings of two other short duo pieces from the same year, recently rediscovered by Wolff in his papers, which use similarly reduced materials in a livelier, more dynamic manner. Moving forward to the 1970s, the solo pieces "Bread and Roses" and "The Death of Mother Jones" belong to the period in which Wolff was drawing on political music, in this case two early 20th century songs that celebrate women labor activists. In both, arrangements of the traditional melodies are followed by a series of technically demanding free variations in a modernist style. The lyricism of these pieces is carried into the more fragmented, elusive works of the '90s onward. In the beautiful "Six Melodies Variation" (1993), written in tribute to Cage, fragments of Cage's "Six Melodies" dissolve into anthemic snatches of the music of 18th century American composer William Billings. The sixteen "Small Duos for Violinists" (2021) explore the radically disjunctive style of recent major Wolff works such as "Long Piano (Peace March 11)", where short "patches" varying in style, density, and notation system are places next to each other without clear concern for conventional compositional principles. Includes extensive liner notes and wonderful reproductions of a series of Wolff's delicate abstract works in pencil, crayon, and water color.
CAT #: BC 037LPGRUBBS & JAN ST. WERNER, DAVID Translation from Unspecified LP
"David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on Mars and Microstoria. After years of exchanging ideas, Translation from Unspecified marks their first-time locking horns as a duo, and it's clear this deck-clearing collaboration was long overdue. In January 2020 Grubbs arrived at Mouse on Mars' Berlin studio Paraverse with a guitar and 'Translation from Unspecified,' an open-ended, seemingly self-generating poem suggesting AI, one of the themes in St. Werner's recent work. This became the side-length title track, a winding corridor of electronic fanfares and spontaneous musical miniatures urging Grubbs's slow and steady recitation to grow wings and graduate into song. Who knows where this idiosyncratic mise-en-scène -- day-glo, extrovert electronics and task-oriented human -- came from? Reference points, distant ones, might include Robert Ashley and Paul De Marinis's In Sara, Mencken, Christ and Beethoven... and the sound poetry of Anton Bruhin. Flip the record and you have 'Soixante Ooze,' a live-in-the-studio duo for guitar and computer more recognizably St. Wernerian and Grubbs-like that reconfigures elements of the title track before finally morphing into needle-pinning monoliths of sound."
BUREAU B (GERMANY)
CAT #: BB 391LPFAUST The Faust Tapes LP
Limited restock; LP version. Reissue, originally released in 1973. There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co. cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as The Faust Party Tapes -- and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. "Flashback Caruso" brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of "J'ai Mal Aux Dents" sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of "Two Drums, Bass, Organ", a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic "Dr. Schwitters", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of "Elerimomuvid", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz ("Hermann's Lament") before taking slight respite in the beauty of "Rudolf Der Pianist" and "I've Heard That One Before". The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of "Stretch Out Time", "Der Baum" and "Chère Chambre", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the album.
CLASSICAL MUSIC ON VINYL (NETHERLANDS)
CAT #: MOVCL 008COL-LP
FILE UNDER: CLASSICALGLASS, PHILIP Glassworks (Clear Vinyl) LP
Clear vinyl. "Philip Glass is an American composer. His music is considered to be minimal music, although he himself uses the term theater music. Glassworks was originally released in 1982. The album is a six-part chamber music work by Philip Glass. After his larger-scale concert and stage works, Glassworks was Philip Glass's successful attempt to create a more pop-oriented 'Walkman-appropriate' work, with significantly shorter and more accessible pieces written for the recording studio. In fact, the cover of the cassette release stated that it was 'mixed especially for your personal cassette player'."
CAT #: CT 124LPSCIENTIST Heavy Metal Dub LP
2022 repress. Recorded at Channel One Studio in 1982. Tracks include "Having Fun With The Klingons," "Rocking Time Warp Dub," "Jah Love All Aliens," "Conversation With Kahn" and "Smerf Wak Head Beat."
DAMAGED GOODS (UK)
CAT #: DAMGOOD 581CDTHEE HEADCOATS Head Box 4CD BOX
"A boxed set of 4 CDs featuring four classic albums by Thee Headcoats! We present four albums by Thee Headcoats in a clamshell box set complete with booklet. With exclusive new artwork by Bruce Brand at Arthole! The four albums in the set are -- Headcoats Down! The kids are all square, this is hip! Headcoatitude W.O.A.H! Bo in Thee Garage Thee Headcoats was a band formed in Chatham, Kent, England in 1989, that was well known for its garage rock sound, explicitly sticking to this style on almost all of their albums. The band's signature sound as well as their prolific writing has been attributed to Billy Childish's love of simple, direct recording. The band has been on multiple labels including Billy's own Hangman Records, Damaged Goods and Sub Pop. Described in the New York Times as 'the king of garage rock', Thee Headcoats had their roots in the British punk scene of the 1970s (both Billy and Bruce playing in The Pop Rivets and The Milkshakes). The band recorded songs by The Clash under the pseudonym Thee Stash. The band also recorded tribute albums to Bo Diddley and Jimmy Reed. Their debut album featured new versions of songs recorded by Son House including 'John the Revelator' and 'Child's Death Letter', both of which were later covered by The White Stripes upon whom Billy and Thee Headcoats were a great influence. These influences give a good indication of the band's sound; punk mixed with pure rhythmic rock 'n' roll and blues."
CAT #: DNFTRNX 001LPOGBOH, EMEKA 6°30'33.372"N 3°22'0.66"E 2LP
The Nigerian sound and installation artist Emeka Ogboh will release his second album 6°30?33.372?N 3°22?0.66?E via his newly launched Danfotronics imprint for experimental electronic music from Nigeria, West Africa, and beyond. The album follows Beyond The Yellow Haze (2021), which was re-released last year via Ostgut Ton sublabel A-TON. While Beyond The Yellow Haze took a more macro sonic overview of various areas in Lagos, 6°30?33.372?N 3°22?0.66?E turns its hyper-specific geographical focus toward the sounds and voices within the city's Ojuelegba bus station and its environs. It's a sonic "zooming-in" to the anarchic, self-organized urban node at a critical transformational juncture, previously immortalized on Fela Kuti's legendary track and critique of post-colonial Lagos, Confusion. Ojuelegba was also the previous location of a sacred historical shrine created for Eshu, the Yoruba god of dance and confusion (amongst other things), and located at the area's main intersection. This junction is the starting point for Lagos's numerous yellow VW Danfo buses, whose drivers and conductors, recorded by Ogboh, provide a kind of verbal mapping of the neighborhood on the album; spoken descriptions of bus routes, food, spiritual geography, history, and prostitution. On 6°30?33.372?N 3°22?0.66?E, Ogboh converts these field recordings and voices into a musical ode to Ojuelegba. Over eight tracks, Nigerian Pidgin, a form of Creole, takes center stage, guiding the listener from informal interviews on the origins of the name and descriptions of Ojuelegba via massive, cavernous drums, synth and bass of album centerpieces "W?le" (enter in Yoruba) and "Ayilara" (the red light district). Elsewhere, the kick-less Afro-electronics of "Verbal Drift" unfolds amid overlapping conversations and a bus conductor's verbal spin on the neighborhood, while the ambient Lagos techno of "No Counterfeit" (one driver's declaration of Ojuelegba's matchlessness) and heady, hyper-detailed dub of "We Die Hia" (an avowal to never abandon Ojuelegba) serve as meditations on the area's 24-hour accessibility. "Oju 2.0", the album's penultimate and longest track, is a blurry ambient orchestra of multiple neighborhood field recordings combined into a single, sonic landscape -- each street scene decaying, reverberating and resounding at a different speed. As a sonic metaphor for order amid chaos, this sentiment echoes in the record's final interviews on finding a future -- Eshu willing -- within the anarchy of a neighborhood that never sleeps.
CAT #: DE 305CDCOWLEY, PATRICK Malebox CD
"Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley's friends and family to uncover the singular artist's lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners. But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick's most creatively exciting periods. 'If You Feel It' and 'Love Me Hot' were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley's zoned-out space disco sound. Jeanie Tracy's soulful vocals feature on the demo version of 'Low Down Dirty Rhythm,' which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick's gifts for careful orchestration and infectious melodies shine on 'Floating' and 'Love and Passion,' which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon. Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics."
CAT #: DE 305LPCOWLEY, PATRICK Malebox LP
LP version. "Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley's friends and family to uncover the singular artist's lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners. But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick's most creatively exciting periods. 'If You Feel It' and 'Love Me Hot' were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley's zoned-out space disco sound. Jeanie Tracy's soulful vocals feature on the demo version of 'Low Down Dirty Rhythm,' which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick's gifts for careful orchestration and infectious melodies shine on 'Floating' and 'Love and Passion,' which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon. Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics."
DEAR BOSS (ITALY)
CAT #: JACK 004CV-LPSIOUXSIE AND THE BANSHEES Paradise In San Francisco: California Hall, 26th November 1980 FM Broadcast (Yellow Vinyl) LP
Siouxsie and the Banshees, live at California Hall on November 26th 1980. FM broadcast. Yellow vinyl.
CAT #: DIS 070LPFUGAZI In On The Kill Taker LP
2022 repress. Fugazi's third album, originally released in 1993. Remastered with full color inner sleeve. "Part of this album's beauty is the track list. It begins with the upbeat number 'Facet Squared' which is almost pop-punkish in its delivery. Essentially the tracking of the album begins it with the lightest material and by the end you're cast into Guy's own torments with the quiet brooding 'Last Chance For A Slow Dance.' The middle of the album is almost completely dedicated to the noise experimental side of Fugazi, especially the centerpiece and half-instrumental '23 Beats Off,' a soundscape of harsh noise that supposedly reflects the deterioration of a relationship... With Guy's brilliant performance, lyrically and vocally, walls of sound encapsulate his pleas of 'Why don't you come to my house? Why don't you drag me right out?'. It is truly one of the most beautiful yet aggressive songs in Fugazi's vast library." -- Sputnik Music
CAT #: DIS 166LPGOVERNMENT ISSUE Boycott Stabb Complete Session LP
2022 repress; pink vinyl. "When Government Issue recorded Boycott Stabb in November 1982 they initially tracked twenty songs, including several older previously recorded songs. The band had been through a major line-up change and finally decided to release only the newest songs. The outtakes have remained un-mixed and unreleased until now. Side A of this 12" LP features the original Boycott Stabb songs and side B features the outtakes." Includes printed inner sleeve and download coupon.
CAT #: DIS 192LPSOULSIDE A Brief Moment in the Sun LP
"Soulside announce first album in 33 years! Soulside formed in Washington, DC, in 1985, split up in 1989, then reformed in 2014 and has continued playing and writing music since then. After releasing their debut album on Sammich/Dischord, they recorded Trigger (Dischord, 1988) and Hot Bodi-Gram (Dischord, 1989), which were combined on the Soon Come Happy CD in 1990. The band toured extensively in the US and Europe during these years, including groundbreaking shows in Poland and East Berlin shortly before the Berlin Wall fell in 1989. In 2020, Soulside put out a new 7-inch, This Ship, their first release in 30 years, which was recorded in Prague. In late 2022, Dischord will release a 12-song Soulside album, A Brief Moment in the Sun, which was written during the heart of the coronavirus pandemic and recorded in person by J. Robbins in November 2021."
DISPOSABLE MUSIC (UK)
CAT #: DIM 007LPSPOERRI/MASSONIX, BRUNO Hommage Au Fromage / Hollingsville LP
Warehouse find, last copies. The Finders Keeers subsidiary Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. With unlimited entry to the archives belonging to names like Ciani, Spoerri, Rollin, Epple, Korzynski, and Massey, Disposable Music have taken the best in unadulterated, underexposed and unattached mood music and given these homeless compositions a place, purpose and time to thrive. Hommage Au Frommage is perhaps one of the best titles to have ever been in a dusty box of a quarter inch tape reel. However, without a crumb of irony the music that appears on this session also ranks highly in Finders Keepers list of archival triumphs. An early '70s conceptual jazz pop album combining dulcimers, harps, a Jew's harp and what sounds like a tap dancer instantly earns itself its own protective niche shared only by certain vintage recordings by Vladimir Cosma and The Roundtable -- but when accentuated by a heavy weight back beat and the added information that it was commissioned by the national Swiss Cheese Consortium this record commands further inspection and repeat listens. Starting with all the traits of a moody Morricone or Bruno Nicolai giallo soundtrack and breaking into a healthy cross section of modal jazz, tape manipulation, electronic grinds, Brazilian accordion, and (dare it be said) b-boy break beats, Hommage Au Frommage by Swiss electronic jazz pioneer Bruno Spoerri is a record quite unlike anything else. The music found on Graham Massey's Hollingsville record was originally created for a twelve-part radio series on Resonance 104.4 FM. The series, Hollingsville, was conceived and presented by writer Ken Hollings and would focus each week on a different aspect of man's historical relationship with technology. Informal discussions with a series of specially invited guests were accompanied by custom-built theme tunes by Massey, His approach was intentionally leaning toward the Bakelite and hot valve nostalgia of some forgotten Expo or World's Fair. The resulting Hollingsville soundtrack exercises Massey's authentic knowledge of original analog machines in their rawest form and triumphantly draws comparisons with the likes of Henk Badings, Oscar Sala, and Kid Balton from the pre-synth era of electric keyboards and tape manipulation. "Neptune" features Seaming To.
CAT #: DC 309LPLOOSE FUR Born Again In the USA LP
2022 repress; LP version. "Rising from the undead three years after their debut is Loose Fur with an album of all new, all-American rock and roll called Born Again In the USA. The Loose Fur II sound is irreverently all over the place. Twinned electric guitarmonies and stop-on-a-dime rhythms give way to breezy acoustics and melodious whistling, which in turn fades into an ominous well of vibes, percussion and...distant thunder. Throughout Born Again In the USA, Loose Fur keep the changes (and the chuckles) coming, crafting a complete album of classic and questing pop music that threatens to satisfy fans of Wilco, O'Rourke, On Fillmore and even Godpsell all at once. It's just that all-encompassing -- a populist entertainment that takes no prisoners. Loose Fur is a super group/power trio (take your pick), comprised of Jeff Tweedy (Wilco), Glenn Kotche (Wilco and On Fillmore) and Jim O'Rourke (Loggins & Messina)."
CAT #: DC 404LPOM God Is Good LP
2022 repress; LP version. "It's been years now -- just about two, judging from the sun. OM have done their time in the desert, and ever-changing, are returned. Today, they say, God is Good. Are you surprised? Perhaps you've haven't understood what OM was saying to you. But perhaps you felt something... It's true that the one way pursued by OM leads in many different directions. It is a mystic path. Songs come from innumerable sources, filtering through the external and the internal. OM albums are rituals, personal convictions transcripted into verse. Playing the music is visceral, emotional, a catharsis of soul and spirit. As the ghat liberates soul from body to the ultimate, so too do OM strive to disengage from the finite object of their objective mortal self to rest in the empty and timeless witness. And in doing so, they seek to release you as well. As ever, dynamic relationships and the slow building of mood are attenuations that shape the structures of God is Good. With careful microscopic increase, the energy grows through the four songs, leading towards moments that one could interpret...revelation? Oblivion? Awakening? Since 2004, OM have burned their name into the annals, trolled the fertile crescent, faithfully made more out of what little was put into their hands, forged three full-length albums from white-hot evaluations of the infinite. The duo that is OM is composed of bass and drums and whatever else comes into their mind that will serve the song and do it justice. Al Cisneros has been pursuing the pure note as OM (and previously with Sleep) for many years now, but this is the first OM record to feature the battery of Emil Amos, who replaces Chris Haikus in the chair. You can go to the shelf and study it: there are comparative religions, philosophy, metaphysics, mythology, and history. Turn around, and there is OM. Their vibrations of the philosophical and the physical are meant to move you. Believe."
CAT #: DC 438LPOM Advaitic Songs 2LP
2022 repress; double LP version. "Where God Is Good was the first step in a more ornate and sophisticated direction for Om, Advaitic Songs achieves a level of composition that would've been impossible to foresee. There remains the singularity of purpose that is the core of all Om records, but no single reason can account for this comprehensive nature of their evolution. On this album the core primary sound of Om remains, yet everything reaches further and becomes more of itself. Whatever drone-doom camp that Om had previously been placed in has been decimated by the sheer imagination and expansive quality of this recording. For a band that has continually followed its own course, and stood alone in its sound and approach, Advaitic Songs for certain, is the band's most focused, progressive document."
CAT #: DC 840LPMOORE, ANTHONY Flying Doesn't Help LP
"40-plus years since its original release, the pop-punk-new wave inventions of Anthony Moore's Flying Doesn't Help are freshly remastered, blasting the sparkling, angular sounds into today with perfect vitality. After spending the early years of the '70s making experimental music first as a solo artist, then with Slapp Happy and Henry Cow, 1976's OUT sessions had reinvigorated Anthony's youthful love of the naive pop melodies of pop radio, the undeniable excitement of songs. While OUT ultimately went unreleased at the time, the iconoclasm clouding the late '70s air was addictive and transformative for Anthony. England seemed to be roiled as violently as it had been in counter-cultural days a decade earlier; the UK pop charts breathlessly reflected the changing spectrum with equal parts aging hippie and prog delicacies alongside new ascendant sounds: rough-hewn pub and punk rock, plus dub reggae and disco and ska and stiff and krautrock . . . This proved to be an ideal environment for Anthony to make records by exploring, as he puts it, the 'deep connection between minimalism, repetition, working with tape and celluloid and forming the modules of a three minute pop song.' Caught up in a no-holds-barred era, Anthony was more than happy to play the out-of-his-head madman, raving through outrageous exchanges with the press, while 'Judy Get Down' received Single of the Week honors from the NME (with review penned by Brian Eno). Represented by Blackhill Enterprises, Anthony did production work throughout 78-79, on Kevin Ayers' Rainbow Takeaway, Manfred Mann's Earth Band's Angel Station and the first This Heat album, meanwhile cutting his own songs on a dead time deal at Workhouse Studio with engineer/producer Laurie Latham. Through the wee hours of countless nights, the two pieced together Flying Doesn't Help, with a little help from friends (an inspired bunch, including Bob Shilling, Charles Hayward, Chris Slade, Robert Vogel, Festus, Matt Irving, Sam Harley, Bernie Clark, Edwin Cross and Martine Moore on the telephone!) Building upon the axis of pop and experimental impulses that distinguished OUT, and informed further by the raw sensibilities exploding everywhere, Flying Doesn't Help blasts out of the speakers with its own unique blend of sophistication and aggression, Anthony's keyboard flashes between arpeggiations and outright stabs among the noise of slicing guitars, funk basslines and the reverbed blare of the drumkit..."
CAT #: EUDEMONIA 013EPNOT EVEN NOTICED No More Waiting 12"
Next up on eudemonia is the Frankfurt-based duo, not even noticed. With only a couple of vinyl releases during the last years the two artists are relatively new to the scene. However, their sound is perfectly produced and meets the tooth of time. The No More Waiting EP consists of five outstanding futuristic electro and breaks-influenced tracks each going into their own direction.
FOURTH DIMENSION (UK)
CAT #: FD 129LPKLEISTWAHR Mobility LP
Limited edition reissue of this cassette originally released in 1983 on Broken Flag, gathering five untitled solo pieces by Gary Mundy of Ramleh in full on early power electronics mode, firmly illustrating his place as one of the innovators of this genre yet likewise pushing this confrontational avant-garde sensibility somewhere entirely new. It is a sound that Kleistwahr has continued to explore and add new dimensions to ever since, but never completely untangles itself from this particular root. Raw and seemingly unrestrained, these pieces present a robust, white-hot sonic meltdown up there with the very best from this ultimately fertile period for music from the basement. They last around 17 minutes in total. This release is packaged similarly to the vinyl reissues of the first two full-length Kleistwahr albums released by Harbinger Sound in 2011, Arsonicide and Myth. Released at the same time as the Do Not (FD 130LP) reissue originally released on cassette in 1986.
CAT #: FPE 047CDBARKER, NOAH Instrumental Memory CD
"Elegant post-bop explorations and contemplations. Pianist Noah Barker's succinct Instrumental Memory begins with a daydream, clear and serene, mellow with curiosity and wonder. An insightful balm, not forcing undue conclusion. 'Fortune Teller' is more circumscribed, hesitant... what lies ahead? The answer is simpatico between father and son, junior burning while senior stokes the fire. Enter the klaxon soprano saxophone of Mike Troy, with Coltrane-esque intent. No sheets of sound, a focused prodding. Noah's father -- AACM legend Thurman -- skitters and splashes, somewhat martial and Ed Blackwell-like on the snare. He's a chamber music composer from time to time, an aesthetic for space and dynamic he shares with his son, who's pianism commands elegance and poise. There's the scent of Bill Evans in the equilibrium and intelligence of Barker's chordal peregrinations, anchored by Dean Torrey's ostinato bass on 'Theme from South Side Suite'; on 'Fortune Teller' too. 'Movement on McDonald' is an intro feature for soprano, with swinging bass entering to up the ante. Then Barker père calls into service his straight-ahead chops and groove-ability, taking the cut out with percussion taxonomy. 'Shively' is a bath in slightly murky salts, Barker's final solo an unprepossessing shimmer, the fleeting reflection of sun in rock pool. There's beautiful music here, transparently recorded, that never outstays its welcome -- more than a third of the tracks come in under two minutes. Crystalline and considered, yet with the lilt or agitation of genuine spontaneity."
GET ON DOWN
CAT #: GET 783EP
FILE UNDER: HIPHOPCAMP LO Black Nostaljack (aka Come On) 7"
"To celebrate the 25-year anniversary of Camp Lo's classic debut album Uptown Saturday Night, Get On Down presents a brand new 7-inch single for 'Black Nostaljack (aka Come On)' with a Kid Capri produced remix on the B-Side featuring Rev Run of RUN DMC."
CAT #: GGGR 129CDVA Blorp Esette Gazette Volumes Three & Four 2CD
"The history of the Blorp Esette, which chronicles the output of the Los Angeles Free Music Society and other entities in its orbit, dates back to 1977, with the release of Blorp Esette Volume One LP (soon to be reissued by Superior Viaduct) and Volume 2 2LP in 1980. Volumes 3 and 4 emerged in 1999, packaged in a boxset with the previous volumes. The Blorp Esette Gazette first appeared with Volume 1 & 2 in 2013. Intended to be an on-going series, it was paused after the passing of Transparency label owner Michael Sheppard who was co-releasing the CDs with LAFMS members. While the original Esette is an obligatory who's-who of LAFMS (Doo-Dooettes, Smegma, Le Forte Four), the Gazettes have an even more sprawling reach. Compiled by Ace Farren Ford and Ju Suk Reet Meate, Volumes 3 & 4 features: Michael Uhlenkott, (AN) EeL, Ace & Duce, Control Unit, Sissy Spacek, Kommissar Hjuler und Frau Mama Baer, Million Brazillians, Lee Rockey, Trance Farmers, Keith Mitchell, Split Second, Mr. Foon, Electric Bill Robinson, Testing Vault, Donkey Flybye, James Dewey, Eric Zann, Threed, Purple Panther Ensemble, Lynn Carey, Collide Burger with Chicken Larry and Patrick Lubow, Dr. Amazon, Io, GX Jupitter-Larsen & Ace Farren Ford, Dan and Letha Rodman Melchoir, Harold Schroeder, Erica Rawlings. Art direction by John Wiese & Ace Farren Ford, with collages from Cody Brant featured throughout the release. Each 'issue' of the Gazette features a visual artist (Vol. 1 was Ace Farren Ford, Vol. 2 was Rick Potts)."
CAT #: GB 137CDAKYOL, GAYE SU Anadolu Ejderi CD
Wildly acclaimed Istanbul-based artist Gaye Su Akyol delivers an unforgettable fourth album, Anadolu Ejderi. Building upon her mélange of Turkish psychedelia, empowered commentary and retro-futurist sonics, her vision is more personal and uncompromising than ever before. Lauded for her startling, innovative mix of Turkish psychedelia and folk song, surf music and ?90s Western rock, a global sweet spot where Anatolian music heroine Selda Ba?can rubbed shoulders with Kurt Cobain, Akyol was ready to expand her vision after a relentless period on the road. Everything on Anadolu Ejderi -- the title translates as "Anatolian Dragon" -- breathes fire. It takes chances, the lyrics offer an exploration of politics in today's Turkey. The personal is very much part of that. While it can hark back to the beauty of Istanbul before the coups that changed the place, when the country shifted, Anadolu Ejderi is a record that's filled with possibilities and dives into the unexpected. It's there in the dancing joy of slipping a disco section into the title track or the stark beauty of the acoustic openings to "Yaram Derin Derin Kanar" and "Biz Ne Zaman Dü?man Olduk," which arrive as shocks to the system. If you thought you knew what to expect in Gaye Su Akyol's music, things have changed. Akyol's lyrics lure, puzzle, and often take by surprise, as with the album's final track, "Içinde Uyan?yoruz Hakikatin" (We Are Waking Up In Reality). Musically it can seem like the closest to a straightforward Western song she's come, but, Akyol notes, "you also hear non-existent Turkish folk". Akyol is an astute observer of what's happened to her country. The tales history tells are important to her. That first upheaval of 1980 was followed by another in 1997, and her cries for what's lost stand in her words. The political allusions are often carefully oblique, but they're there. The instrumentation forges closer connections between Turkey's past and its present. The rock guitar, bass and drum trio are now accompanied by traditional instruments such as violin, oud, electro baglama, cümbü?, sazbü?. With Anadolu Ejderi, Akyol says, "I'm telling stories for the future." To do that takes courage. It takes bravery and daring. Listen, and you'll hear the roar of the Anatolian dragon as it roars. "Her voice is a mesmerizing thing, deep and plummy enough to shake trees and stir hearts." --Pitchfork
HABIBI FUNK (GERMANY)
CAT #: HAB 020CDMAHA Orkos CD
"Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha's Orkos, originally released on cassette, is one of these standout musical diamonds that combines jazz and Egyptian vocal traditions with funk, Latin and soul. Maha's Orkos immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who's group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu's Ramy TV series). At the time of its release, however, the Orkos cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha's story. Below is a bit more context around the release as well as the campaign schedule. The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether. Maha's Orkos" album fits this category. Put out in a small run of cassettes, it's fair to say that the singer's sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time. From the funk sounds of 'Law Laffeina El Ard'; the moody, mellow sounds of 'Kabl Ma Nessallem We Nemshy' or 'We Mesheet;' to excursions into Latin sounds in the title track 'Orkos,' and disco with Ana Gaya the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time..."
CAT #: HAB 020LPMAHA Orkos LP
LP version. "Completely unknown album by Salah Ragab's Cairo Jazz Band vocalist Maha, recorded in Cairo in 1979. Features productions by Hany Shenoda of Al Massrieen. Maha's Orkos, originally released on cassette, is one of these standout musical diamonds that combines jazz and Egyptian vocal traditions with funk, Latin and soul. Maha's Orkos immediately catches your ear as a unique album. A strong and energetic voice, equally grounded in jazz as well as Egyptian vocal traditions, Maha sings over instrumentals that offer a wide palette of influences, sonically emblematic of the cultural changes that were occurring in the country. The album features rich compositions and productions by renown Egyptian musician Hany Shenoda, who's group, Al Massrieen, Habibi Funk worked with in 2017 (the release led to sync placements in Hulu's Ramy TV series). At the time of its release, however, the Orkos cassette quickly faded away among the growing number of releases populating the Egyptian musical soundscape. For more than 40 years, it sat in near obscurity before being given new life in the form of a properly licensed vinyl release. Habibi Funk and Disco Arabesquo are honored to play a part in sharing Maha's story. Below is a bit more context around the release as well as the campaign schedule. The arrival of the cassette brought a seismic shift in how music was produced and consumed around the world. Smaller bands and labels were able to release music without the logistical and financial barrier present in vinyl manufacturing. At the same time, in Egypt, a new crop of musicians and composers made their way into the scene, seeking to bring something fresh to what was perceived as the widely monophonic musical traditions of Egypt. Hany Shenoda, Mohamed Mounir, Magdy El Hossainy, Omar Korshid, Salah Ragab and Hamid El Shaeri are some names that come to mind. Many built their sounds combining their own musical upbringing with influences coming from the outside. The success of these projects varied widely, but for each there were numerous lesser-known bands and singers. Many of these often-short-lived projects would release their music on cassettes on tiny labels only to fade into the musical ether. Maha's Orkos album fits this category. Put out in a small run of cassettes, it's fair to say that the singer's sole recording outing was not a financial success when it was originally released by Egyptian label Sout El Hob in 1979. While it may not have found an engaged and open-eared audience upon its release, the first few bars of the album indicate this is a special, timeless album that transcends the musical boundaries that many artists were seeking to break through at the time. From the funk sounds of 'Law Laffeina El Ard'; the moody, mellow sounds of 'Kabl Ma Nessallem We Nemshy' or 'We Mesheet;' to excursions into Latin sounds in the title track 'Orkos,' and disco with Ana Gaya the album is an amalgamation of genres that stands out from the immense creativity present in Egypt at the time..."
CAT #: HEAVY 020LPMOCKY Goosebumps Per Minute Vol. 1 LP
Collection of upbeat and funky Mocky tracks. Following up 2021's orchestral album opus Overtones For The Omniverse (HEAVY 011LP), Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as Goosebumps Per Minute Vol. 1 on vinyl. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and '70s analog synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage Ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) -- and on top of a multitude of summery bass, drums, and strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence". Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths", or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" -- his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw and funky. The songs were also inspired by his time hanging out at the Goldline bar in LA's Highland Park. "Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts -- and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately -- It reminded me of my time in Tokyo's vinyl bars so 'Goosebumps Per Minute' owes a lot to that inspiring culture as well." Includes download code; edition of 600.
HEY SUBURBIA (ITALY)
CAT #: SUBURBIA 009CVMACH PELICAN Mach Pelican (Clear Vinyl) LP
Clear vinyl. Reissue, originally released in 1999. Debut album for the Australian-adopted Japanese punk band, Mach Pelican. Ripped jeans, leather jackets, 14 short and sharp three-chords tunes. Punk rock to the bone! Featuring the single "Dance In Chicago" and a cover of The Queers' classic "Ursula Finally Has Tits". Cover art by Ray Ahn from the Hard Ons. Double-sided lyrics insert included.
CAT #: SUBURBIA 033LPMANGES, THE The Book of Hate for Good People LP
Sixth studio album by the Italian punk rock veterans par excellence. Produced by Andrea Caredda and mixed at the Blasting Rooms in Fort Collins, CO., year 2022. Comes complete with exclusive poster and double-sided lyrics insert featuring art by renowned artist Manuel Cossu. RIYL: Screeching Weasel, Queers, Ramones, Hard-Ons, Chemical People... and The Manges! Exclusive color vinyl.
HOT CASA (FRANCE)
CAT #: HC 075CDDJEUHDJOAH & LIEUTENANT NICHOLSON 2+ CD
2+ is the third album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T'es Qui? album in 2015 (HC 034CD). This new building stone prolong their critically acclaimed album Aimez Ces Airs released in 2019 (HC 061CD/LP). Aimez Ces Airs De Plus loves this theme again, that's exactly what the two sidekicks want to present with their diptych. What's new? 15 tracks, eclectic, soft, deep, and funky, where electro, soul even Afrobeat touches, or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness "Pas si vite"), address environmental issues on ("Coeur béton"), social statements on ("Police", "Raie publiques", "Clic" and the social media addiction), childhood on ("Bola Mba"), the post-colonial relation between Africa and the other continents. Love is also really well presented ("Thé à la menthe", "Ping Pong") and why not sailing to Essaouira in Morocco; During the summer of 2020, when the French National Radio asked them to perform a live cover, the French funky duo chose the famous "Né quelque part" by Maxime Leforestier released in 1987. Their suave interpretaion, haunting beat, and spatial and languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour. It became clear that they needed to put this track on their new album, as their now club remix classic "Bwe Dlo" performed with their friend David Walters. After their tour in South Africa, they met Cool Affair the musician and electro house producer in Johannesburg who made a beautiful remix of "Aimé Césaire" which close perfectly this new opus. Recorded at "Le triangle des Bermudes" the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions, and vocal choir were recorded at Bastille village at the label basement, even during the pandemic. On 2+, you can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier, two new flagships of the French jazz scene. Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. They want to keep their international audience, from Australia, Japan, USA, South Africa to name a few of the dancefloors around the world that will ignite with this new album. The French touch will still shine.
CAT #: HC 075EPDJEUHDJOAH & LIEUTENANT NICHOLSON Pas si vite 7"
The funky French duo is back with a new 7". Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. Two funky electronic flow, ready to electrify clubs worldwide. Our two "chansonniers" are the leaders of "Afropeanité" and the Creolity. The song "Pas si vite" champions deceleration and positivity during our complex period. "Caipirinha" is a soft tribute to bossa nova, the dream of hot and sweet destination in a cold winter. Recorded at "Le triangle des Bermudes" the home studio of Lieutenant Nicholson, produced and mixed by him with an electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement, even during the pandemic. Mastered by Frank Merritt at The Carvery (London).
CAT #: HC 075LPDJEUHDJOAH & LIEUTENANT NICHOLSON 2+ 2LP
Double LP version. 2+ is the third album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T'es Qui? album in 2015 (HC 034CD). This new building stone prolong their critically acclaimed album Aimez Ces Airs released in 2019 (HC 061CD/LP). Aimez Ces Airs De Plus loves this theme again, that's exactly what the two sidekicks want to present with their diptych. What's new? 15 tracks, eclectic, soft, deep, and funky, where electro, soul even Afrobeat touches, or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness "Pas si vite"), address environmental issues on ("Coeur béton"), social statements on ("Police", "Raie publiques", "Clic" and the social media addiction), childhood on ("Bola Mba"), the post-colonial relation between Africa and the other continents. Love is also really well presented ("Thé à la menthe", "Ping Pong") and why not sailing to Essaouira in Morocco; During the summer of 2020, when the French National Radio asked them to perform a live cover, the French funky duo chose the famous "Né quelque part" by Maxime Leforestier released in 1987. Their suave interpretaion, haunting beat, and spatial and languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour. It became clear that they needed to put this track on their new album, as their now club remix classic "Bwe Dlo" performed with their friend David Walters. After their tour in South Africa, they met Cool Affair the musician and electro house producer in Johannesburg who made a beautiful remix of "Aimé Césaire" which close perfectly this new opus. Recorded at "Le triangle des Bermudes" the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions, and vocal choir were recorded at Bastille village at the label basement, even during the pandemic. On 2+, you can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier, two new flagships of the French jazz scene. Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional "French song" to make the world dance. They want to keep their international audience, from Australia, Japan, USA, South Africa to name a few of the dancefloors around the world that will ignite with this new album. The French touch will still shine.
CAT #: HC 076EPDAMAWUZAN, ROGER Fine Fine 7"
Since his introduction in the '60s, he has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home second place for the first National Festival of Tologese Music). His first seven-inch vinyl, Wait For Me, is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse, and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7". Afro. Soul. Funk. Vaudou. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan's soul into this album. Such a force of nature, Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé's most talented musicians are at Damawuzan's disposal for this new soul DJ friendly vinyl.
CAT #: IR 031LPDILLARD & CLARK The Fantastic Expedition Of Dillard & Clark LP
100% analog mastered from the original analog master tapes; mastered by Kevin Gray at CoHEARent Audio; ultra-quiet 180-gram vinyl pressed at Gotta Groove Records; beautiful old-style "tip-on" jacket printed by Stoughton. "What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds' Sweetheart of the Rodeo. After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he'd make The Flying Burrito Brothers' The Gilded Palace of Sin), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, The Fantastic Expedition of Dillard & Clark. The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark's soulful vocal presence and guitar. The repertoire is endlessly fun and engaging but punctuated with somewhat somber Clark offerings like 'She Darked the Sun' and 'Something's Wrong'. Country rock is familiar ground to Intervention fans, as we've already tackled greats from The Flying Burrito Bros., and Gene Clark's amazing solo effort White Light. This is the roots of the music that paved the way for the Eagles and countless others. The Fantastic Expedition of Dillard & Clark is Mastered Direct-to-DSD from the 1/4'' 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio. The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record." "Fantastic Expedition of Dillard & Clark is one of the first, inarguable classics of country-rock ... a work rooted in tradition while reveling in freedom and new ideas and making the most of them all." --Mark Deming, AllMusic
CAT #: JUBG 001LPGUT/NATHAN WOOLEY, GUDRUN The Painter LP
Since its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest. JUBG releases the official soundtrack to The Painter from 2021. The film, German title Der Maler, is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film Downfall, and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg. The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera. The wonderful music for this film comes from no less than two outstanding personalities. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the '90s, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary '80s new wave band Malaria. On the B-side it's the world famous and award-winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn, among others. Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way. Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.
JUKE JOINT 500 (GERMANY)
CAT #: JJ 5008CDTINY LEGS TIM Call Us When It's Over CD
Tim de Graeve (1978-2022). Raised in rural Westouter in Belgium, Tim discovered his love for blues music through his father's record collection, including an acoustic album by Blind Lemon Jefferson. He took classical guitar lessons from the age of eight and soon began writing his own songs. Tim formed his own blues band at the age of 17. Tim went to Ghent to study biology at university and lived there for the rest of his life. He worked as a teacher for a time, making music with his band The Heartfakers as a hobby. At the age of 20, a nine-year ordeal began. Even as a child he had problems with his liver, but this was not correctly diagnosed at the time. This was to take revenge, because as a young man he spent most of his time in the hospital getting liver transplants and fighting for his life. Meanwhile, Tim focused on learning how to play his grandfather's slide guitar and delving into blues classics like delta blues and writing songs. Back then he swore to himself that if he survived, he would dedicate his life to become a professional musician. In 2009, he released his debut EP Please Dr. Please under the name Tiny Legs Tim & The Concrete Blues Band. He then focused on releasing solo work as a singer-songwriter for a number of years. His stage name, Tiny Legs, was a reference to his small and thin appearance, which was a result of his severe liver disease. Inspiration came from some of his blues heroes like Blind Willy Johnson, Big Bill Broonzy, and Sleepy John Estes, who also have three-part names, often describing a physical characteristic. He thought it was a funny name that had a self-relating effect. It was a way of dealing with his "new" body. He recorded more albums, sometimes solo, sometimes with a drummer or harp-player or like on the marvelous 2019 album Elsewhere Bound with an eight-piece band. For Call Us When It's Over Tim founded a new four-piece band that recorded these six tracks during the pandemic (hence the album title). This band blew everyone away at the Goezot Festival in Turnhout in September 2021. Juke Joint 500 instantly struck a deal which hopefully was the beginning of a long and fruitful relationship. This was not to be as Tim de Graeve died during an operation in hospital in May 2022.
CAT #: KOM 453LPAGENTS OF TIME Universo 2LP
Double LP version. Italian duo Agents Of Time have been incredibly busy over the past few years, from releasing a string of classic singles -- including their recent single for Afterlife, "The Mirage" -- to remixing The Weeknd's "Take My Breath", which appeared on his recent Dawn FM (Alternative World). But the biggest news is here now -- their second album, Universo, is ready. Elevating their trademark melodic techno with an exquisite pop-ness, Universo has found its ideal home with Kompakt, following their Music Made Paradise 2020 debut EP for the label (KOM 417EP). It's a meeting of minds that makes perfect sense. Andrea Di Ceglie and Luigi Tutolo, the two members of Agents Of Time, used their time during the pandemic to work on Universo, an album loosely conceptualized around their "personal universe", a manifestation of the world Di Ceglie and Tutolo built both within and around their studio. This accounts for the sparkle and brightness of Universo -- it's full of personality, vim and vigor, the duo experimenting with their music, exploring its furthest corners. If you come to Universo expecting just another album of melodic techno, get ready to be pleasantly surprised -- there's a whole lot more going on here, and it's all equally compelling. After a typically poetic opening gesture -- the swirling, synesthetic, self-titled intro track -- expectations are immediately blindsided with the two-step pop of "Fallin'", sung with gentle clarity by guest Audrey Janssens, a dream of a song that harks back to the glory days of early '00s UK garage. "Interstellar Cowboy" is a confident, lithe, disco-fied strut; the gentle minor-key piano of "Liquid Fantasy" spirals into a gorgeously melancholy techno-pop epic, Vicky Who?'s voice rich with yearning. Janssens also reappears on the electro-swirl of "Poison"; "Dream Vision" revisits their single "The Mirage", soft with sweeping strings, loaded with drama; "Part Of Life" sashays into view with a schaffel-stomp. This rich variety throws the more dancefloor-focused tracks, like "Ciao", into even starker relief -- they're more decisive, streamlined, yet rich with detail, chugging, Moroder-esque bass meeting strobe-lit synths that fire melodies out into the firmament. Universo feels texturally dense, but it still breathes, its sounds so tactile you want to reach out and grab them, its tunes so seductive you can't get them out of your head. Universo is a fiercely beautiful album, brave in its spirit, a perfectly poised meeting-point of pop melody and stylish, lush techno.
CAT #: KOM 456LPBJORKE QUARTET, KASPER Mother 2LP
For over two decades, Kasper Bjørke has cut his own path, as a solo artist and enthusiastic collaborator. Bjørke's Copenhagen home may be one of Europe's great cultural hubs, and he's certainly added a paragraph or two to that story, but his music is distinctly international. Even a cursory listen exposes an impressive, ever-evolving career. However, few expected him to initiate the collaborative ambient/neo-classical project Kasper Bjørke Quartet. In 2018, The Fifty Eleven Project (KOM 393LP) was released on Kompakt Records, a deeply personal record that musically documents Bjørkes encounter with, and triumph over, cancer. The album topped many critics' lists, and was included among The Guardian's Best Contemporary Albums of the year. Mother represents a quantum leap forward. Literally, when you consider the terrestrial shifts that informed it. Six compositions explore what the evolution of our planet sounds like. While Holst may have gotten there first, Mother singularly focuses on the orb where we reside, from its formation, to its likely conclusion. Other artists have tackled song cycles that parallel a day, a year, or even a lifetime. Mother spans a timeframe from 4.5 billion years ago up to humankind's impending demise. It hints at how that may be sooner than we think, as well as the earth's resilience, and the promise of another chapter. Additional gravity comes courtesy of evocative choir arrangements -- and marimba recorded at the Copenhagen Opera House. "Formation" condenses 20 million years of runaway accretion into 20 minutes. It is sublimely padded by feature artist Sofie Birch's gentle synths. "Abiogenesis" intimates a different type of emergence: the first life to inhabit our nascent planet. The entire cosmos is condensed into the layered vocals of Philip|Schneider. Birch returns on "Miocene," which signals the divergence of proto-humans from primates not with foreboding, but rather cascaded notes and swells adumbrating a pure and curious being, revealing nothing of what the Catch-22 of knowledge will bring. That's addressed in the diptych of "Anthropocene" and "Tipping Points," respectively marking the dawn and foreshadowing the probable downfall of homo sapiens, through wondrous advancements and their climate damaging byproducts. It's tempting to think the album's finale, "Requiem," implies only a dark conclusion, owing to its sparkling verrillon's coronach, and the return of Philip|Schneider's empyrean vocals, but its juxtaposition with revolving, enigmatic piano chords infers the earth will enter its next act. Mother is a staggering achievement, encouraging contemplative thought.
CAT #: KOMP 170CDVA Kompakt Total 22 CD
It's common knowledge that Kompakt's Total series serves as our yearbook, a musical wrap up of the past 12 months. Therefore, it doesn't come as a surprise that 2022's edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt's A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue. Kompakt founding member Jörg Burger adequately opens Total 22 with a groovy midtempo chugger that reminisces "Blue Lines" era Massive Attack as much as the late Andy Weatherall's low slung psychedelia. Jürgen Paape is calling a spade a spade with "Le Monde À Changé" -- the world has changed. Parisian rookies, Archil & Leon won the label's hearts over with an EP full of laidback, funky pop played on their self-made instruments. "Loving You" rightly made it onto this compilation. Matias Aguayo returns to the mothership with "The Tiger", a lascivious beast of a track, perfect for getting lost in reveries. Dutch-American techno legend Orlando Voorn continues his foray into Kompakt's sonic continuum with "Deeper Shades". Perel is spreading love with her ravishing piano house tune "Matrix", taken from her recent album Jesus Was An Alien (KOMP 171CD/KOM 451LP). The Voigt brothers (Voigt & Voigt) are further building the vibe with their crispy exclusive contribution "Why", before Jonathan Kaspar ultimately pushes the energy to (almost) post-pandemic levels. Barnt's tranced-up secret weapon "This Is For Decor Only" makes a welcome appearance and Mexican musician Rebolledo delivers a first solo appearance on Total with his trademark hypnotic desert sound. Agents Of Time are melting hearts with "Blu" while proudly putting Italian vocals back into Italo house. Michael gives the overly talented Danish singer songwriter eee gee a proper Michael Mayer treatment before a whole bunch of Berlin legends, Bleep Gigaverse, are closing Total 22 with a bang.
CAT #: KOMP 172CDAGENTS OF TIME Universo CD
Italian duo Agents Of Time have been incredibly busy over the past few years, from releasing a string of classic singles -- including their recent single for Afterlife, "The Mirage" -- to remixing The Weeknd's "Take My Breath", which appeared on his recent Dawn FM (Alternative World). But the biggest news is here now -- their second album, Universo, is ready. Elevating their trademark melodic techno with an exquisite pop-ness, Universo has found its ideal home with Kompakt, following their Music Made Paradise 2020 debut EP for the label (KOM 417EP). It's a meeting of minds that makes perfect sense. Andrea Di Ceglie and Luigi Tutolo, the two members of Agents Of Time, used their time during the pandemic to work on Universo, an album loosely conceptualized around their "personal universe", a manifestation of the world Di Ceglie and Tutolo built both within and around their studio. This accounts for the sparkle and brightness of Universo -- it's full of personality, vim and vigor, the duo experimenting with their music, exploring its furthest corners. If you come to Universo expecting just another album of melodic techno, get ready to be pleasantly surprised -- there's a whole lot more going on here, and it's all equally compelling. After a typically poetic opening gesture -- the swirling, synesthetic, self-titled intro track -- expectations are immediately blindsided with the two-step pop of "Fallin'", sung with gentle clarity by guest Audrey Janssens, a dream of a song that harks back to the glory days of early '00s UK garage. "Interstellar Cowboy" is a confident, lithe, disco-fied strut; the gentle minor-key piano of "Liquid Fantasy" spirals into a gorgeously melancholy techno-pop epic, Vicky Who?'s voice rich with yearning. Janssens also reappears on the electro-swirl of "Poison"; "Dream Vision" revisits their single "The Mirage", soft with sweeping strings, loaded with drama; "Part Of Life" sashays into view with a schaffel-stomp. This rich variety throws the more dancefloor-focused tracks, like "Ciao", into even starker relief -- they're more decisive, streamlined, yet rich with detail, chugging, Moroder-esque bass meeting strobe-lit synths that fire melodies out into the firmament. Universo feels texturally dense, but it still breathes, its sounds so tactile you want to reach out and grab them, its tunes so seductive you can't get them out of your head. Universo is a fiercely beautiful album, brave in its spirit, a perfectly poised meeting-point of pop melody and stylish, lush techno.
CAT #: KOMP 173CDVA Pop Ambient 2023 CD
The 23rd edition of the Pop Ambient compilation, compiled as always by Wolfgang Voigt. With the first tracks of Leandro Fresco/Thore Pfeiffer, Gen Pop (Burger, Pfeiffer, Würden), Morgen Wurde featuring Tetsuroh Konishi, and Max Würden up to Triola's gloomy and melancholic "Kupferblüte", the feeling of a slowness and calmness not experienced before, of an exceedingly lively standstill, creeps over us. A mental state that resembles dreams, in which you follow strange events as if paralyzed, yet awake and sensory. The Cologne-based Sono Kollektiv, an association of experimental artists Annie Bloch, Stefanie Grawe, Joel Jaffe, Alex Linster, Luis Weiß, Moritz Riesenbeck, Lukas Schäfer, Emily Wittbrodt, and Max Würden, is represented for the first time with two contributions on Pop Ambient. The two works, the fragile "Bolzano Sessions IV" and the rather light-flooded "Bolzano Sessions V" nestle perfectly into the musical whole of this year's compilation, not only in terms of their majestic leisureliness. In Jens-Uwe Beyer's "Nero", melancholic guitar chords reduced to the bare minimum are carried away by the wind like leaves, the reverberation holding the last note so long that it almost comes to a stop in the ear. If you like it synesthetic, look at the once again ravishing cover artwork by Veronika Unland right at this moment. Colors and shapes in which there is both everything and nothing to discover. Both feel equally right. The final third of Pop Ambient 2023 begins with Reich & Würden's herbaceous "Receiver," a track so dignified and carried by pads reminiscent of the sound of bagpipes. The slowness is joined by togetherness at the end: Pop Ambient veteran Joachim Spieth cooperates with American sound artist zakè on his literally weightless "Air", Thore Pfeiffer co-produced the wonderful "Instinct" with Scottish brother duo Andy and Mike Truscott aka Kinbrae. California duo Patrick Hills and Morgan Fox aka Blank Gloss close out with the yearning "Down At The Heel."CD features Leandro Fresco / Thore Pfeiffer, Gen Pop, Morgen Wurde, Tetsuroh Konishi, Max Würden, Triola, Sono Kollektiv, Jens-Uwe Beyer, Reich & Würden, Joachim Spieth / zakè, Thore Pfeiffer / Kinbrae, Blank Gloss, and Ümit Han.
LATINO BUGGER VEIL
CAT #: LBV 003LPBUTTHOLE SURFERS Psychic... Powerless... Another Man's Sac LP
2022 repress. "Latino Bugger Veil presents the long-awaited vinyl reissues of Butthole Surfers' first four full-length albums. Originally released between 1984 and 1988, these classic and influential LPs capture the band at their peak, drawing from punk, rock, psychedelic and experimental influences for a truly inspired and unmistakably unique sound. Comes with coupons for free digital downloads."
CAT #: LIB 5102CDFLYING BURRITO BROS, THE Live At The Bottom Line NYC 1976 CD
"Touring in support of their fifth studio album Airborne, The Flying Burrito Brothers performed at the legendary New York City venue, The Bottom Line on August 18, 1976. This 12-track set features many of their classic tracks alongside a few C&W standards. The group's line up consisted of Skip Battin and Gene Parsons (both ex-Byrds band members), along with Gib Guilbeau, Joel Scott Hill and original Burrito pedal steel legend, 'Sneaky' Pete Kleinow. This live recording is previously unreleased." "1976 was a great year for re-iteration of the Flying Burrito Brothers having the opportunity to travel throughout the USA celebrating the 200th Anniversary of the founding of the United States. Though Gram Parsons wasn't around anymore, Chris Hillman embarked on a solo career, and Chris Ethridge had just departed this band, we had some great guys that just happened to be really familiar with the 'Burrito' mentality. It all came together quite spectacularly! To begin, Gib Guilbeau was my life-long pal and Cajun guy par excellence. Gene Parsons, formerly of the Byrds, was he drummer from hell who lifted the excitement to the limit (and picked a great banjo and string bender guitar. What can I say about Joel Scott Hill? A rebel? A reverent fanatic? A soulful and emotional artist? ALL of the above! Then there is Skip Battin, who just joined the band whom everyone loved and called friend who provided very original bass and vocal support. All these cuts are genuine items from a live performance at New York City's legendary Bottom Line club with all the warts and magical moments. No fix ups and no apologies. Just real music and true enthusiasm. This was the way it was when he hit the road in 1976!" --Sneaky Pete, 2001
CAT #: LION 196LPJAHN, LOTHAR Dreams of 75 (Transparent Blue with Black Swirl Vinyl) LP
Transparent blue with black swirl vinyl. "Lothar Jahn's February '75 single was released by the German label Sound Records in 1977 -- a very unusual record, somewhere between psychedelic, folk, and krautrock. That single was reviewed thus on Discogs: 'A mysterious journey through Cosmic Psych Folk Kraut, whatever you may call it. Fantastic, from beginning to end. Another Kraut on 45 milestone.' This newly recorded album, Dreams of 75, is an extended riff on the original single, taking that smaller vision as a starting point and then launching into a wilder and weirder psychedelic/progressive stereoscopic headspace than was evident (or possible) on the original single. So, who is Lothar Jahn? He is a singer/songwriter, television presenter and multi-instrumentalist who has been active in the German music scene since the early 1970s. Since 2020, Jahn has his own television show, Lothar's Liedertreff. And what were Jahn's dreams of '75? 'They were wistful dreams of boundless love, community and peace, boundless sex, boundless freedom and a lot of wonderful music. What better time to grow up than back then, in the middle of works like Oldfield's 'Ommadawn' and Pink Floyd's 'Wish You Were Here'?' says Jahn. Hand-numbered copies on transparent blue with black swirl vinyl; comes with an 8-page booklet giving Jahn's thoughts on his life and the dreams which provoked this album; includes the bonus track 'Merseburger,' recorded with Olaf Casalich, the singer of famed German band Ougenweide."
LIVE AT ROBERT JOHNSON (GERMANY)
CAT #: PLAYRJC 083EPLE TOUGH, MANO Holographic Witness 12"
Live At Robert Johnson presents the new Holographic Witness EP by Niall Mannion aka Mano le Tough. Please enjoy four very special tracks made by experienced Irishman Mannion near beautiful Lake Zurich. Four tracks to jump into like Zurich folks jump into the Limmat to get carried away. Now here's your chance to get carried away too! Let's start with the hypnotic grooves of "Holographic Witness" with its subtle handclaps and percussions turning this bass-line driven monster to further heights -- a bass-line quite reminiscent of that special Miami sound made famous by the Murk guys back in the early '90s. Add some Balearic guitar riffings and wait until that mighty bass drum comes back in after 6 minutes and you'll find yourself dreaming on a dancefloor in heaven. Niall continues with more pounding drum sounds in next tune "Kakooja". Stabbing synths sounds dominate this track while Niall manages to create another dreamy vibe again for this monotonous (in a very positive way that is) work of art -- a dreamy vibe which can be found on any of Niall's tracks. This leads you directly to "Last Floating Figh, Liufe Floating" where Mr. Mannion floats into much quieter shores. It's a very meditative affair which makes you want to listen to it over and over again once the tune comes to an end. On "Weather Master", this EP's last track, Niall masters the art of trippy sounds for a fourth time building another dreamy hypnotic groove that is just beautiful. Maybe too beautiful for this world. Fans of Mano Le Tough who does not seem so tough at all considering his first offering for Live At Robert Johnson.
CAT #: LJ 013EPHEDLUND, RASMUS Far 2LP
Rasmus Hedlund releases Far on Ljudverket.
CAT #: MVD 10986CDBASHO, ROBBIE Bouquet CD
"Robbie Basho's 13th album is now available for the first time on CD. Remastered from the original master recording, it has never sounded better. Robbie Basho's innovative pieces for the steel-string acoustic guitar incorporated American, European, and Eastern influences, while his unique voice appeared to emanate from another world. Along with John Fahey and Leo Kottke, Basho was a part of the triumvirate of guitarists on the legendary Takoma Records, and one of the foremost proponents of elevating the steel-string acoustic guitar to the level of a concert instrument. In his brief and troubled life, he laid the foundations for radical changes to the musical landscape of America during the 1960s and '70s but reaped little more than a sparse (if fervent) following during his lifetime. Almost 40 years since its original issue on cassette, Basho's 13th album Bouquet is now available for the first time on CD. Affording us a greater insight into his remarkable vision, this long-awaited release is a critical piece of the puzzle that was Robbie Basho. With lyrical themes traversing famous mystics and arcane symbols, Basho's conceptual focus on Bouquet roves through Catholic, Sufic, Hopi, and otherwise nebulous terrain in search of the choicest blooms, while his approach to composition sees him veering ever further from the long-form instrumentalist of earlier days, becoming something of a troubadour. Remastered from the original master recording (discovered during the production of Voice of the Eagle: The Enigma of Robbie Basho), it has never sounded better. The 24-page booklet includes rare photos and images from Basho's illustrated songbook, as well as texts from Glenn Jones, Henry Kaiser and others. Bonus tracks include an epic 13-minute solo version of 'Land of Our Fathers'."
LUGAR ALTO (BRAZIL)
CAT #: LUGAR 004LPSUBOTIC & GORAN VEJVODA, MITAR The Dreambird 2LP
"The fourth release from São Paulo label Lugar Alto is not a Brazilian production but it still has strong ties to the country, it is the psychotomimetically heuristic ambience of The Dreambird by Mitar Suboti? (Suba) & Goran Vejvoda. The album was produced in Paris in 1987 and five years later was the first release by Suba in Brazil as a limited edition CD put out by the Brazilian Catholic label Paulinas COMEP. The album was made while Goran Vejvoda was living in Paris. Relaxed days were spent sitting around, tinkering with sounds, going out, having lunch, coming back and playing some more. Pascal Humbert, bass player from the French band Passion Fodder, joined the duo for a day. Goran had a Japanese field recording CD called Bird Island Seychelles that contained the exotic bird sounds and sea waves used to create the organic textures of the album. Suba left with the 8-track tapes and rough mix cassettes and adapted the music for a sound art installation/happening by the Danube in Novi Sad where The Dreambird was played, climaxing with a laser show. Mitar Suboti? aka Rex Illusivii aka Suba, was born in 1961 in Yugoslavia. A renowned innovator in his home country but is best known in Brazil for his 1999 CD São Paulo Confessions, a hugely important release that effortlessly walked the line between modern MPB and '90s electronica, influencing a whole generation of Brazilian music makers. Tragically, he died just after it was released and could never benefit from its critical acclaim and success. The Dreambird was recorded in Paris one year before 'In the moon cage', a similar project using the pseudonym Rex Illusivi. This was a recording of exuberant synth scapes, ambient guitar and Yugoslavian folk which was awarded the International Fund for Promotion of Culture from UNESCO, and included a three-month scholarship to research Afro-Brazilian rhythms in Brazil. The album was released in 2015 by Ivkovi?'s Offen Music. It's challenging to trace the story of this project precisely, very little information is available and what we have are diffused fragments of memory from different actors. So, we return to the initial question: what is The Dreambird? It doesn't matter if it is either an environmental statement or simply relaxing spa music, what it does is evoke sensations that elevate your mind to a higher and more emotional plane and from there you can travel wherever you like."
MADE IN GERMANY (GERMANY)
CAT #: MIG 2802CDSCHUTZ, DIETER Transvision CD
"German electronic music, produced by Klaus Schulze, performed by Dieter Schütz. Dieter Schütz, born in Flensburg (Germany) in 1955, was a highly talented multi-instrumentalist who, unfortunately, died at the age of only 36. Shortly before his death, he founded the pop rock trio Deja Vue together with his partner Ulla Witt and his friend Adelbert von Deyen, of which the album Nightflight was released in 2004 only at the instigation of Adelbert von Deyen. When Dieter Schütz died suddenly on September 25, 1991, he left behind no less than 500 songs and instrumentals composed and produced by himself, of which, however, only a fraction has ever been released. Also, on his first solo album TransVision (1981) Dieter Schütz played almost all acoustic instruments himself and was only supported by percussionist Fred Severloh and drummer Barry Madison (both from the band Lorry, also on the IC label). Germany's electronic legend Klaus Schulze, who unfortunately passed away recently, brought Dieter Schütz to his IC label and produced his debut. Several instrumental solo albums followed, but now on the Sky label. The album TransVision, however, is still considered the most important milestone in Dieter Schütz's unfortunately much too short career. About the three bonus tracks: 'Guess' is a vocal version of the instrumental from TransVision, 'The Lonely Whale' is previously unreleased and 'Blue White View' is from the one and only deja vu album Nightflight with Adelbert Von Deyen and Ulla Witt."
CAT #: WAVES 003LPCURD DUCA Waves 3 LP+CD
Magazine announces the album Waves 3 by Curd Duca, the third and last part of the trilogy Waves: Austrian electronic composer Curd Duca is widely known for his 1990s series of critically acclaimed easy listening 1-5 (Normal) and elevator 1-3 (Mille Plateaux). After a long break from the studio, Duca has issued part 1 of the Waves series in late 2020 on Magazine WAVES 001LP. This was in fact his first album in 20 years. The Waves recordings pick up the thread of his '90s work and open up a new chapter. Again, everything is shifting constantly and all tracks are quite different (soft, rough, melodic, abstract...), but complement each other in a surprisingly coherent way to form an idiosyncratic universe. While other experimental artists can sound as if they're attempting to lift lead weights over their heads, Duca is content flicking feathers into their faces. After his impressive 1990s/00s run on Normal and Mille Plateaux, Curd Duca had disappeared for 20 years before emerging from the aether last year. The albums of the new Waves trilogy represent a flawless examination of sound and texture. The Vienna-based producer still straddles high and low culture, but approaches his sonics with a more historically aware ear. So plain and resonant gong recordings are placed next to pop music loops and DSP-fractured cut-ups, and icy electronic jams nudge up against cassette warped instrumental sketches. Waves 3 is a continuation and culmination of the series. In the final chapter, you're drawn in with church bells on dome, but quickly transported to another era entirely with the crackly bläser and absurd zither, a tongue-in-cheek plunderphonic experiment assembled from zither samples. Duca follows this evocative run of tracks with a machine-gun blast of experimental sound, from the percussive 500 GRM to the ferric ASMR birdsong of "ziegenmelker." This is Duca at his most uncompromising, grabbing central European culture and dragging it through his array of processes. Playing the album from beginning to end opens up a weightless cut-and-paste mixtape, stitched together with expert foresight and a knowing wink to camera. Like the best psychedelic experiences, memories are triggered and turned inside-out, and knowledge is allowed to blossom. Curd Duca has been refining his process for three decades now, and few artists have quite the same ability to challenge, provoke, and inspire.
CAT #: MANA 016LPAYLU Profondo Rosa LP
"Big or profound sensations from small gestures which are carefully arranged. Using a mixture of sacred and profane, or classical and prosaic sound sources, knitted into intricate, fleet-footed compositions that virtually spring into the ear. Profondo Rosa is composer Ailin Grad's first vinyl album following years embedded and loved in the Argentinian experimental music scene, with past treats on labels Krut, Sun Ark, Orange Milk Records and her own label Abyss, devoted to 'connecting Latin Juke with the world'. There's a playfulness at the heart of Profondo Rosa that's immediately charming, with a sense of scale and spatialization in the sounds being toyed with, exploring the strange pleasures and satisfaction in her approach to delightful and fresh feeling sound design. Aylu is known to be as likely to deploy the sound of a finger click, a fizzy drink being cracked open, or a fly buzzing past the ear, as she is drawn to sampling gorgeous strings or instrumentation. Her debut album for Mana constantly builds territories that tug at your heartstrings and then have you grinning five seconds later. This versatility and acceleration have often resulted in her music being compared to footwork, alongside collaboration with other producers experimenting in that sphere; in 2017 she and Foodman put together a dizzying hour of sounds for NTS. Her miniaturization of rhythm and ringtone-like sample size could also bring to mind SND circa their warmer softer glitch Tenderlove phase, or perhaps the approach that Teenage Engineering take to designing tools for music making. Each are deriving pleasure from small and satisfying shapes, as well as advocating an object-oriented philosophy and minimalization in their work that sidesteps a draining of color. Sound is fun, and in Profondo Rosa it sounds like Aylu has that at the forefront of her mind. Her hyperreal sound and its link to the languages of electroacoustic or computer music are clear, but she out maneuvers many of the overly-academic and formless examples of those genres. Profondo Rosa's skeletal assembly of objects becomes tunes in an elegant, almost understated way; tactile elements quickly combine and roll into deeper and persuasively emotional places. These compositions give off an air of being very free, very experimental, despite being meticulously artful and studied arrangements on precise and nimble coordinates."
MANNEQUIN RECORDS (GERMANY)
CAT #: MNQ 140LPGIOVANOTTI MONDANI MECCANICI GMM Suite LP
Mannequin Records present for the first time on vinyl, the reissue of Giovanotti Mondani Meccanici's first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally "Mundane Mechanical Youth") or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami, aka Alexander Robotnick, a pivotal member of GMM, was responsible for the group's music output. Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed "multiple identity" performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes. Alexander Robotnick's first contribution to GMM was this soundtrack for the group's eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two "suites". Determining in this work is Dami's adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, "alphaPlus," on the Apple II computer. The same computer was used by Glessi to "draw" the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses. As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dancefloor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM's videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness. Dami's scores for GMM's artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton. The futuristic escapism of minimal synth and ambient music's psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology.
CAT #: MNQ 144EPREBOTINI, ARNAUD Shiny Black Leather 12"
Mannequin Records welcome a brand-new killer release from the legendary French producer Arnaud Rebotini. Whether as one half of Black Strobe or in his own material or just busy receiving a César prize in 2018 for best film music, Arnaud Rebotini devotes his career to mind-blowing electronic productions. Passionate about analog synthesizers, and with a strong taste for electronic music of a dark and brutal hue, the new EP Shiny Black Leather pushes to the limit his EBM-influenced electro-goth side, making the most doomy, goth clubber happy.
CAT #: MARIONETT 020LPLODERBAUER, MAX Petrichor LP
"Max Loderbauer's career in music spans the last 3 decades, yet he's still managed to keep his listeners hungry by releasing only three solo albums to date. Two of those releases (Transparenz, 2013 and Donnerwetter, 2020) were on Tobias Freund's label Non Standard Productions -- his long-time collaborator and Templehof studio mate. In between those releases, Loderbauer graced Marionette with Greyland in 2016, revealing a previously unheard youthful and sentimental side. Now in 2022, the seasoned mind voyager is back with Petrichor, making yet another rare and treasurable solo appearance. Petrichor distills the elements of Loderbauer's work that are fundamental to the initiation of the label. With his Buchla, modular synth, and Haken fingerboard, Loderbauer's improvised studio maneuvers dilate into imagined journeys from glacial peaks into the exosphere. This is Maxi at his most exhilarating state, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease -- all while maintaining a sense of grace and elegance. Petrichor is a reflection of Loderbauer's impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though it's woven into the fabric of the fauna and flora. Legendary collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric in the early nineties, and the newly formed Ambiq ensemble have gained this unique artist the respect of the underground and avant garde scenes alike."
MORR MUSIC (GERMANY)
CAT #: MORR 192LPHALEIWA Hallway Waverider LP
Fourth album by Stockholm based multi-instrumentalist Mikko Singh, aka Haleiwa. Hallway Waverider is Mikko Singh's second album for Morr Music under his Haleiwa moniker. Blending the washed-out aesthetics of dream pop with a lo-fi take on modern psychedelia, it is a fuzzy record in more than one sense. The ten songs see the multi-instrumentalist explore the sonic idiosyncrasies of analog recording equipment while also expressing a self-assured statement by a musician who has carved out a niche for himself and feels perfectly at home in it. After exploring the affordances of vintage equipment for 2019's Cloud Formations album (MORR 167CD/LP), Singh worked with a Tascam 244 4-track cassette recorder and Tascam 388 8-track reel-to-reel recorder to transform the sounds of his vintage synthesizers, bass, the occasional guitar part, and drums supplied by Svante Karlsson for Hallway Waverider. By experimenting extensively with the machines' unique sonic qualities and constantly reworking the pieces in regards to their sound signature over the course of two years, Singh has found the perfect equilibrium of electronic music and lo-fi aesthetics while navigating with ease through styles like driving surf rock, gritty garage punk and ethereal dream pop. On his new record, he seamlessly integrates these influences into anthemic yet soothing songs. The title of the album refers to Singh's halcyon days as a teenager spent listening to punk music and -- in wintertime -- skateboarding in his own bedroom. The lyrics refer to surfing as a nod to both his own experiences with riding the waves and the music genre that has provided him with inspiration throughout his career as a prolific recording artist with three solo albums under his belt. However, surfing primarily serves as a metaphor for something bigger. Hallway Waverider dedicated to Singh's mother who passed away in 2015. "She made it possible for me to have a good childhood and to be able to do what I love," says the artist. This sense of closure and being at peace with himself is also expressed in lyrics like "A sea stroll. Going slower. Feeling featherlight," expressing a calm that perfectly mirrors the music's steady grooves and welcoming overall feeling. Starting with the upbeat "River Park/Sleeping Pill"; to the almost ambient, synthesizer-heavy "A Bottomless Pit"; or short, punk-inspired and bassline-driven outbursts like "Watered Down" or "Halulu Lake"; to the blissful title track that closes the album, Singh opens up a whole panorama of different moods across a broad variety of musical styles. Includes download code; edition of 300.
MULE MUSIQ (GERMANY)
CAT #: MUSIQ 282EPDE KUNOVICH, SIMONE Addio Mondo Nuovo 12"
Second release of a bright hope in Italy, Simone De Kunovich. This release is a final chapter of his Mondo Nuovo series. It's a unique mixture of world music, acid, wired electric music.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 3170COL-LPREVOLUTIONARIES Outlaw Dub (Orange Vinyl) LP
Orange vinyl. "The Jamaican reggae group The Revolutionaries were set up in 1975 as the house band of the Channel One Studios. With Sly Dunbar on drums and Bertram 'Ranchie' McLean on bass, The Revolutionaries created the new 'rockers' reggae style that would change the whole Jamaican sound. Recorded at the Channel One studios, the 1979 album Outlaw Dub was written and produced by Linval Thompson."
CAT #: NSD 135LP
FILE UNDER: HIPHOPROCK, PETE NY's Finest 2LP
"He made remixes matter more than the original songs. He introduced dramatic, forceful horns to rap's sonic discussion. It almost goes without saying that Pete Rock is among the greatest hip-hop producers of all time, and Soul Brother #1 is still crafting timeless music. Now back on vinyl for the first time in years, Pete's acclaimed album NY's Finest features an impressive lineup of vocalists, including Wu-Tang emcees Raekwon and Masta Killa, Jim Jones, Little Brother, Styles P, Redman, Max B, Papoose, and more. Entirely produced by Pete Rock, the album is a modern masterpiece from a legendary artist. This repress also includes the bonus track 'It's So G' featuring Roc Marciano, a lost treasure from the NY's Finest sessions that wasn't on the original tracklist."
CAT #: CR 001X-LPCRAMPS, THE All Aboard The Drug Train LP
Green vinyl. Recorded live at The Stone, San Francisco, California on May 13th, 1980. One of the final shows with Bryan Gregory.
CAT #: NA 5240LPGARDINER, BORIS Ultra Super Dub Vol. II LP
"The lost albums in jamaican bass player, bandleader, songwriter, singer and producer Boris Gardiner's discography. First official issue of these impossibly rare albums contains extensive booklet, with Jeff Mao detailing Gardiner's career and the 70s Jamaican music industry. Unpublished photos and ephemera. 1970s Jamaica suffered an unprecedented stretch of political turmoil and violence, and as the country's economy and morale collapsed, reggae and its offshoots exploded worldwide. Boris Gardiner enjoyed great success leading bands, issuing albums that mixed reggae, ska, soul and funk, and collaborating with the likes of Lee (Scratch) Perry and Herman Chin-Loy in their legendary studios and playing on hundreds of records. So many that he lost count. Sometime around the issue of his Boris Gardiner Happening Is What's Happening album -- a loft classic, with David Mancuso favoring Gardiner's take of Booker T. and the MG's 'Melting Pot' at his legendary gathering -- and his soundtrack to Every N----r Is A Star, famously sampled by Kendrick Lamar and used as the introduction to the film Moonlight, two albums -- Ultra Super Dub Vols. 1 and 2 -- credited to The Boris Gardiner Happening -- two albums so obscure that for the longest time Boris wasn't even aware that they existed. Following classics such as King Tubby's Dub From the Roots and Augustus Pablo's King Tubbys Meets Rockers Uptown, Miami-based Alty East's Ultra Records took instrumentals Gardiner created for a run of 45s, and created and issued these compilations of dubbed out originals and JA renditions of songs by Otis Redding, Clarence Carter, Betty Wright, Jimmy 'Bo' Horne and Ultra label-mate Frankie Zhivago Young. Released in tiny runs in handmade, silkscreened, paste-on covers, they have become some of the most sought-after Jamaican albums. Now, issued under Boris' guidance, and with a detailed booklet by Jeff Mao, which delves into the deep scene which birthed these remarkable records, we can finally consider the last, unheard portion of this landmark musician's career."
CAT #: OMM 560086LPAMON DUUL Paradieswarts Duul LP
2022 repress; LP version. Ohr present a reissue of Amon Düül's Paradieswärts Düül, originally released in 1971. In 1968, the Münchner Kommune, formed in 1967, had applied to Rolf-Ulrich Kaiser, the organizer of the Essen Songtage, for a gig there. When the Düüls arrived in Essen, already two bands of this name in the meantime, since three members had split off and now called themselves Amon Düül II. Paradieswärts Düül was released in 1971, it's the third album of this outfit. Transferred from the original analog tapes at Dierks Studios and carefully re-mastered.
OPTIMO MUSIC (UK)
CAT #: OM 052EPDE AMBASSADE Young Birds 12"
The Netherland's De Ambassade have dropped the "De" and are now known as Ambassade. Optimo Music will be releasing their second album in 2023. Ahead of that is this glorious two track 12". Both tracks are exclusive to this release. Ambassade on the tracks: "These two songs were born after a collaboration with Naama Freedman. She's an artist from Amsterdam and former member of Ambassade. She brought a couple sketches to the studio and we came out with these two songs. The lyrics on 'Young Birds' come from an old traditional English folk song from around 1903. It has been re-arranged a couple times throughout the years by multiple artists. The song reflects our development in sound and arrangement with extended synthesizer parts, less conventional song-writing. Also, singing in English is a new path. The pulsing song 'Palette' is a perfect combination of sequence and extended legato vocal parts. It creates a tense atmosphere which builds up to the very end."
OUTERNATIONAL SOUNDS (UK)
CAT #: OTR 017LPJAZZ CLAN, THE Dedication LP
One of the rarest and most sought after South African recordings of the early 1970s, available again for the first time since its original South African release -- the swinging township groove of The Jazz Clan's 1973 debut LP, Dedication. One of the dozens of South African groups who styled themselves as "jazz dignitaries" -- like the Jazz Giants, the Jazz Ambassadors, or the Jazz Ministers, for instance -- their two widely separated studio albums for Gallo (Dedication and Makwenkwe, released in 1973 and 1976 respectively) are extremely hard to find. They may have left a small recorded footprint, but it was an impressive one, epitomized by their hard-swinging 1973 debut, Dedication -- a tough, swinging soul-jazz set with distinct African touches which is counted by those in the know as among the best South African jazz recordings of the era. The players that comprised the Jazz Clan were veterans. And they thought big -- their first incarnation during the 1960s had been as a 16-piece, and they had held down a residency at one of Nelson Mandela's regular haunts, the Planet Hotel in Fordsburg. The original leader, drummer Gordon "Micky" Mfandu, had been a regular on the Johannesburg jazz scene since the early 1960s and had recorded with figures including Gideon Nxumalo, and the famous Blue Notes; along with bassist Mongezi Velelo, he had also been a member of the revered Soul Giants unit. Baritone player Cornelius Khumalo had also played with Chris McGregor and the Blue Notes in the pit band of the musical play Mr Paljas, and had also recorded with township legend Zakes Nkosi. Also in the line-up, and handling most writing duties here, was the great trumpeter Peter Segona -- a quicksilver hornsman, Segona later sought exile in Europe, where he played with musical luminaries across the continent including Chris McGregor's Brotherhood of Breath, Cymande, and Manu Dibango. By the 1970s, Mfandu was dead, murdered in Soweto, and the group had consolidated as a septet -- the late drummer is memorialized here on closer "Micky". South African jazz was moving toward electrified funk and bump, and the new township style of Dollar Brand was just around the corner. But Dedication captures the acoustic jazz sound of the early 1970s in its pomp -- a handful of tightly wound songs jostling for space, blending up-tempo soul-jazz sensibilities with Latin influences and pronounced township jazz accents, the latter especially audible in Dimpie Tshabalala's piano vamps, Jeff Mpete's pattering hi-hat emphases, and the unmistakably South African swagger and dip of the horns on cuts like "Rabothata". Transferred from the master tapes by Gallo in South Africa; Mastered for release by Dubplates & Mastering; Pressed at Pallas; Fully licensed from Gallo South Africa.
PEACE & RHYTHM
CAT #: PEACE 019LPC.A.M.P.O.S. The 8th Door LP
The second C.A.M.P.O.S. studio album is here at long last. More psychedelic and electronic disco cumbia. Titled The 8th Door and literally years in the making, this record is a culmination of everything that C.A.M.P.O.S. mastermind Joshua Douglas Camp has been working on since the first studio album Miracles came out in 2016 (PEACE 005LP), with many ideas for the new songs being fleshed out from renditions initially created during the pandemic lockdown and released as a two volume digital-only set titled Shake Up The World: Live In The Studio, Vol. 1 and 2. Other compositions date from before or during the time of the first studio album but were not completed until years later, benefitting from Camp's experiences in the interim during which the group Locobeach was born and C.A.M.PO.S. became a live one-man-band. As a result, The 8th Door is a more mature and focused release that will certainly satisfy longtime fans but should also attract new listeners as well. The multitalented Camp has been involved with many diverse bands over the years, including Latin-flavored outfits like Chicha Libre, Locobeach, and Los Crema Paraíso, as well as country band Westwork, Eastern-European klezmer group Litvakus, and the literary rockers One Ring Zero and somehow these various projects and musical genres all play a part in laying a background for The 8th Door. Though he plays most of the instruments on the new record (and handles production, engineering, vocals and composition), Camp also managed to collaborate with various friends and bandmates along the way. Pianist Marlysse Simmons (Bio Ritmo, Miramar) as well as percussionists Karina Colis (Chicha Libre, Locobeach), Neil Ochoa (Chicha Libre, Los Crema Paraíso, Locobeach), and Gabo Tomasini (Bio Ritmo, Yotoco) all add seamlessly to the mix, helping Camp create a rich, full web of psychedelic sound that transports the listener to interior worlds beyond the cosmos. Much like previous C.A.M.P.O.S. releases, The 8th Door is replete with retro synths, jangly guitars, funky bass lines, and otherworldly vocals that float on a bed of syncopated tropical percussion inspired by cumbia from Colombia and Peru, like some long lost Caribbean version of British synth pop from the '80s but with a modern touch that brings the music in line with similar contemporary underground artists from Bogotá, Mexico City, and Los Angeles. Includes download card with full digital album, including five bonus tracks.
CAT #: PILZ 2029077LPEMTIDI Saat LP
2022 repress; LP version. 180 gram vinyl, gatefold sleeve. A reissue of Emtidi's Saat, originally released in 1972 as the 14th release on the legendary label PILZ. Producer Dieter Dierks prescribed the folk duo a good portion of cosmic electronic chords. The remaster sounds better than all issues before."Saatis a little-known gem and krautrock classic, an album full of dreamy and beautiful melodies. The Emtidi duo considerably expanded its instrumentation and style, and played a unique mix of folk, art rock, and psychedelic music. Besides acoustic guitar, the sound is mainly dominated by synthesizers, Mellotron, and other keyboard instruments, which are often played in a classical style. Some softly floating organ parts are comparable to early Tangerine Dream. In contrast stands a song like 'Love Time Rain,' which could be written by the British folk band Pentangle. On most tracks, Dolly Holmes sings lead with her high, transfigured voice. Aside from 'Die Reise,' a fairy tale story sung by Maik Hirschfeldt, all the songs have English lyrics. The album has a surprisingly full sound for a duo recording, although no drums were used. Most contemporary German bands played with new styles and sounds, but only a few obtained such wonderful music out of their experiments." --Klaus Kehrle, AllMusic
CAT #: PING 076LPY BULBUL/YUMURTA Not One, Not Two LP
Y Bülbül is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut Fever (PING 072LP). Not One, Not Two is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bülbül laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta's singular drum takes. The result is a free-form deep listening album for fans of dub, ambient, and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two. Resembling Moondog, Holy Tongue, or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo's focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic "I'm This", for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in Not One, Not Two, like the organic acid bassline in "Maurin Quina", the euphoric drum fills of "Big K" and the intoxicating groove of the hypnotic vibe-setter "Jah Oto". Bu?lbu?l is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It's this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Ko?an-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.
CAT #: RE 019LPVA The Golem Rescored LP
"Jewish Arts & Culture Non-profit Reboot presents a vinyl record of the new rescore of the iconic 1921 silent horror film, The Golem. The Golem is the Jewish Frankenstein that inspired the Boris Karloff original and a renowned Jewish fable about the occult and Jewish identity. Featuring original music by Scott Amendola, Steven Drozd (The Flaming Lips), and Steve Berlin (Los Lobos, The Flesh Eaters) / Threshing Floor (Alan Licht, Gretchen Gonzales Davidson, Rebecca Odes, John Olson, Nate Young) / Meg Baird, Charlie Saufley and Jeremiah Lockwood / Universal Eyes (members of Slumber Party and Wolf Eyes) / Michael Morley (The Dead C) / Sharon Gal / Marika Hughes and Shahzad Ismaily / ?Y? (Boredoms)."
CAT #: R 091CSVA The 12th Annual International Sound Poetry Festival 4xCASSETTE/BOOK
After years of preparation, Recital presents The 12th Annual International Sound Poetry Festival box set. Held in New York in 1980, this was the last festival of the pioneering sound poetry series started in Stockholm in the 1960s. This ambitious document holds nearly five hours of audio from 30 artists. A 240-page book with biographies, texts, and artwork from each artist supplements the edition, including program notes by Charlie Morrow and Sean McCann. Organized by Sten Hanson and Charlie Morrow, the 10-day festival gathered a battalion of sound poets from around the globe to share the stage at Washington Square Church in Manhattan. Both established sound poets are juxtaposed with more obscure artists, some more fervent than others. Carles Santos, John Giorno, and The Four Horsemen, for example, convey a verbal onslaught. And Bernard Heidsieck, you can hear his shouted and snarled words of "Democratie II" shimmer against the walls and ceiling, amplifying in intensity as if he is screaming at the French Parliament in the Palais du Luxembourg. Not all performances are aggressive; Alison Knowles presents a theatrical ensemble reading (with bean performance), and the subdued conceptual work of Robert Joseph and Pier Van Dijk's for voice and the sound of turning book pages is particularly interesting. The year 1980 seemed like a turning point for sound poetry: there were seemingly more new sound poets than ever, yet the genre began to dissipate and melt into a pool of other experimental sound practices with newer digital technologies. One can almost hear the generational change in these tapes, mid-exhale. But of course, at the end of the day sound poetry is still alive and well, and splitting hairs as fine as these becomes more a matter of personal taste/perception than anything else. There will always be a romanticization of the beginning of any project or movement, the pure state, and luckily this collection includes many of the pioneers. Artists included: Carles Santos, Jackson Mac Low, Greta Monach, Bernard Heidsieck, Katalin Ladik, Jerome Rothenberg, Mary Ellen Solt, John Giorno, Armand Schwerner, Charles Stein, Beth Anderson, Charles Amirkhanian, Richard Kostelanetz, Franz Kamin, Michael Gibbs, The Four Horsemen, Adriano Spatola, Paula Claire, Sten Hanson, Charlie Morrow, Glen Velez, Larry Wendt, Nina Yankowitz, Robert Joseph, Pier Van Dijk, Alison Knowles, Bern Porter, P. Clive Fencott, Bob Cobbing, and the Ocarina Orchestra. 240-page book, 6"x9" perfect bound. Housed in printed box. Includes download card. Edition of 200 (hand-numbered).
CAT #: R 096BKCONNORS, LOREN Night of Rain Book
Night of Rain is the second art book by musician and artist Loren Connors, following 2021's Wildweeds (R 087BK). The book is comprised of two parts: "Night of Rain," which Loren describes as "seascapes, or expressions of the sea and shore. [They are] about the power of rain and the sea, lagoons, bays, tides." Taken from small pencil and black ink drawings enlarged again and again at a copy store. The pieces would often be drawn over and modified throughout this process -- ultimately reaching sizes of 8x6 feet or larger. In this series, Loren considers the digital images as the "originals" -- so this section of the book acts as a sort of swatch, a gallery exhibiting an element of this process. The second section of the book is "A Coming to Shore." Nineteen acrylic paintings on stretched canvas, which are often cast in hazy and dreamlike blues, greys, and yellows. They span across the page in stark simplicity. "They all have the feeling of horizon, but not all of them depict horizons," Loren remarks. Supplemented with a foreword written by artist and friend Aki Onda, Night of Rain is part of a continuing series of limited books published by Recital that explore Loren's visual art. 12"x8.5"; 100 color pages, perfect bound book; edition of 200 (hand-numbered).
RECKLESS YES RECORDS (UK)
CAT #: RY 112LPCRYSTAL FURS, THE In Coastal Light LP
The Crystal Furs are a queer indie pop/rock band from Portland, OR. They write melodic, textured songs about anxiety, architecture, lesbians, and queer feels -- loud music for quiet hearts. In Coastal Light is the band's fifth album, following on from 2020 LP Beautiful and True, and hears them honing their blend of grunge-y riffs and '60s-girl-group vocals. Sky blue vinyl. "Had Portland's (via Forth Worth) The Crystal Furs have been around in the late '80s-early '90s there is a possibility they would have been signed to Sarah Records, home of OG jangle pop bands like The Field Mice and The Sea Urchins. Then again with their sunny, bright melodies, they might have found themselves riding the charts alongside The Bangles." --50Thirdand3rd "It's something of a well-worn expression, that adult life is about 'finding oneself', but it certainly seems for the Buchanans, and their band, that all of the changes in their life have enabled them to do just that. And what they've found are winning alt. indie-pop purveyors in the mold of Helen Love. Beautiful And True is an album whose title could not be clearer: it is what it says it is." --Get In Her Ears "Think of those jangly C86 tunes mixing genteel harmonies, spiraling keyboards, melodic guitar/bass sounds and wistful vocals and you begin to get the drift here." --Into Creative "From the opening tones of the Farfisa organ on 'Comeback Girls' the lo-fi indie pop shines through, with jangly guitars, unassuming instrumental breaks and a naturalistic production that puts the Furs right there in the room with you." --Cambridge Music Review "Retro without being jaded, cute without being cliched what The Crystal Furs do so well -- and demonstrate deeply on both tracks in this release -- is as we've said pair light, sparkling and downright danceable melodies with dark-hearted lyrics emerging from shadowy inner worlds and harder lived experiences." --Popoptica
CAT #: EZRDR 146LPEARLY MOODS Early Moods LP
LP version. "The self-titled full-length debut of Los Angeles quintet Early Moods is a marriage of classic underground doom like Candlemass, Witchfinder General, Pentagram, Trouble and Saint Vitus, paired with traditional 'big box' heavy metal melodies and song structure. These two contrasting aesthetics may seem incongruous, but the skilled musicianship of Early Moods -- some of whom have played music together since their early teens -- manages to find the perfect balance between grit and gloss. 'From the beginning, the purpose for this band was to incorporate our love of traditional doom metal with a heavy metal approach,' guitarist Eddie Andrade says. 'We wanted to show that heavy doom can be complemented with melodies and harmonies. Black Sabbath meets NWOBHM is what we aim for, really.' The band was founded in 2015 by Andrade and vocalist/keyboardist Alberto Alcaraz after a few years of playing in thrash and death metal projects before the two realized that the classic doom that they'd grown up with was what they really wanted to explore. Going through a few lineup changes while delving deeper into the diverging influences that were calling, Early Moods arrived at the sound and lineup that grew their fanbase locally. The band soon captured the attention of German label Dying Victim Productions, who released their debut EP, Spellbound in 2020. Early Moods is Oscar Hernandez on lead guitar, Chris Flores on drums, Elix Felciano on bass, Alcaraz on vocals/synth and Andrade on guitar. Early Moods was recorded at 7th Street Studios in downtown L.A. by Carlos Cruz (Warbringer, Chris Poland, Power Trip) from October to December of 2021. It was mixed by Allen Falcon of Birdcage Studios and mastered by Brad Boatright of Audio Siege who has worked with bands like Sleep, Obituary, and High On Fire."
CAT #: ROG 120CDMARONEY/SCOTT WALTON/DENIS FOURNIER, DENMAN O Kosmos Meta CD
"Denman Maroney, creator of hyperpiano, Denis Fournier, drummer in the lineage of Sunny Murray or Milford Graves and Scott Walton, solid and creative bassist. Denman Maroney (piano), Scott Walton (double bass), Denis Fournier (drums, percussion)."
CAT #: ROG 124CDSHIPP & MARK HELIAS, MATTHEW The New Syntax CD
"Matthew Shipp and Mark Helias, two outstanding artists, two great careers, the first time playing together! Matthew Shipp (piano), Mark Helias (double bass)."
RUNE GRAMMOFON (NORWAY)
CAT #: RLP 3228LPMOLLESTAD & TRONDHEIM JAZZ ORCHESTRA, HEDVIG Maternity Beat 2LP
Double LP version. Hedvig Mollestad says her new album, Maternity Beat, is her most ambitious work to date, and that's not a proclamation to be taken lightly. Mollestad, after all, has been one of Norway's most adventurous and hardest-working musicians since the Molde International Jazz Festival named her the "Young Jazz Talent of the Year" in 2009. Recorded with the 12-piece Trondheim Jazz Orchestra (who have previously worked with legends like Chick Corea and Joshua Redman), Maternity Beat is a sprawling double album and true career milestone. In addition to encompassing the full evolution of her sound to date, it offers deeply personal meditations on the nature of family and pressing social justice issues. While listeners will no doubt encounter the Mahavishnu Orchestra-inspired fire music that has made the Hedvig Mollestad Trio (HM3) heavyweights in 21st-century fusion and jazz-metal, Maternity Beat also expands on the contemplative experimentation showcased on two of Mollestad's recent solo works: 2020's Ekhidna (RCD 2215CD/RLP 3215LP, 2020), and the Arne Nordheim-inspired Tempest Revisited (RCD 2223CD/RLP 3223LP, 2021), both of which netted her a Spellemannpris (the Norwegian equivalent of a Grammy). The sheer sonic and emotional scope of Maternity Beat required Mollestad wear multiple hats: guitar explorer, composer, arranger, improviser, collaborator, and, as the striking title implies, mother. That latter role serves as the album's thematic focus. This represents a novel direction for her. Back around 2019 -- when the Molde International Jazz Festival and Midtnorsk Jazzsenter originally commissioned the creation of Maternity Beat -- Mollestad felt compelled to compose a new and far more personal work that weighed her own privileged experiences with parenting and nurturing against the harsh political realities unfolding before her. Let's not forget: This was a time when graphic images of migrant families drowning at sea were flooding international news. Then came the COVID-19 pandemic, which further drove home how the economic systems in which we are all complicit tear apart humanity's far less fortunate. The harsh contrast of humanity and systemic failure fuels the tense shifts in mood coursing throughout Maternity Beat. Featuring the vocals of Mai Elise Solberg and Ingebjørg Loe Bjørnstad, the opening "On the Horizon Part 1" directly references the migrant crisis, while "On the Horizon Part 2" unleashes the full power of the Trondheim Jazz Orchestra. Harrowing moments are counterbalanced by some of the most unabashedly touching music in Mollestad's catalog. "Her Own Shape," for example, expresses the profound desire of parents to give their children the tools they need to thrive. Jazz has witnessed an explosion of boundary-breaking creativity in the last several years. The boom of musicians interested in cutting-edge forms of fusion, spiritual jazz, and electronic-based improvisation has infused the genre with an urgency relevant to our tumultuous times. Mollestad -- who likens the making of Maternity Beat to the jittery thrill of "jumping off a cliff" -- embodies precisely the kind of daring that not only makes her a vital leader on the Norwegian jazz scene, but also a key voice in jazz's global vanguard.
SCOOPS RECORDS (UK)
CAT #: SCOOP 077LPVIBRONICS MEETS MAFIA & FLUXY Vibronics Meets Mafia & Fluxy In Brixton LP
Brixton in South London has to be the place where legends in reggae and dub meet up for a collaboration. The result is this eight-track all-analog mixed dubwise adventure that features the UK's hardest roots reggae bass player and drummer (Mafia & Fluxy) playing the UK's deepest dubs (Vibronics). This fascinating and intricate LP merges old stool Jamaican reggae musicianship with the swirling euphoria found in contemporary dub music. Vibronics is one of the most established names in UK dub/reggae music. From their base, in the Dub Cupboard Studio in Leicester, their music has achieved millions of views on YouTube, millions of streams, and many tens of thousands of vinyl record sales. Vibronics have collaborated with reggae legends Michael Prophet, Macka B, Iration Steppas, Soom T, Aba-Shanti, and so many more. Mafia & Fluxy are the UK's foremost reggae rhythm section and were initially inspired by Sly And Robbie, consisting of brothers Mafia (bass) and Fluxy (drums). Legends of the stage and the studio, they record regularly in the UK & Jamaica, building rhythm tracks for Bunny Lee, Blacker Dread, King Jammy, Exterminator, and Jah Shaka. They continue to work with the cream of the crop in terms of reggae, having recently backed Luciano and Eek-A-Mouse on their world tours.
SECOND EDITIONS (GERMANY)
CAT #: SE 011LPAHTI & JUDITH HAMANN, MARJA A coincidence is perfect, intimate attunement LP
Second Editions presents a collaborative work by Marja Ahti and Judith Hamann. After their distinguished duet Portals for Cafe Oto's Takuroku label, A coincidence is perfect, intimate attunement is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in. A coincidence... is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja and Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. A coincidence... reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity. Recordings and correspondences between 2020-2022. Mixed by Marja Ahti and Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Edition of 300.Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures -- rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process-based approach to creative practice. Currently Judith's work is focused on an examination of expressions and manifestations of "shaking" in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding "collapse" as a generative imaginary surface, and the "de-mastering" of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy.
SMALLTOWN SUPERSOUND/ACTIONS FOR FREE JAZZ (UK)
CAT #: STSAFJ 392LPEMMELUTH, SIGNE Signe Emmeluth LP
"Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo -- Emmeluth alone in a room with her alto and tenor saxophones. A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee's Tenor and Peter Brötzmann's 14 Love Songs, this album shares the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music. Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth's Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few."
STATIC SHOCK RECORDS (UK)
CAT #: SSR 087EPNEUTRALS Bus Stop Nights 7"
Neutrals return with a stunning new four-track EP on Static Shock Records, after an album on Emotional Response in 2019 and two 7"s on Slumberland and Domestic Departure in 2020. Each song on this EP is a golden nugget of DIY indie pop with clean and jagged guitar work, tunes at every corner and a joyous naivety. Go straight to "Gary Borthwick Says" -- a song about a full-time bullshitter with lyrics akin to I, Ludicrous's Preposterous Tales with music which has the charm of prime The Television Personalities and The Times. "New Town Dream" is another gem and if it had come out in 1979 as an obscure DIY/post punk 7", the kids would be paying £200 for it. Honestly, it's love at first listen and pure infatuation after repeated plays. This EP will not leave you turntable. The 7" is limited to 550 copies on blue vinyl and housed in wraparound sleeve.
STUDIO MULE (GERMANY)
CAT #: STUDIOMUL 042EPMOOGROOVE Dark Room 12"
Moogroove is a pseudonym of Japanese house music producer Kenji Eto. This release is originally released in 1994 on Mo Rhythm Records. It was a top secret '90s Japanese house record until Danilo Plessow aka Motor City Drum Ensemble selected "Dark Room" from this EP for his fabric compilation. First straight reissue with great artwork from Lily Fei. All tracks are first class underground deep house.
CAT #: SV 161LPBRYARS, GAVIN The Sinking of the Titanic LP
LP version. "Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint. The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience -- at once forlorn and eerily calming -- through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus. Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music. Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time."
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 064LPGAINSBOURG/ALAIN GORAGUER, SERGE Strip-Tease LP
Another side of Serge Gainsbourg permeates this 1963 film soundtrack about "a stripper lost in the nocturnal world" of Paris, according to director Jacques Poitrenaud, who cast Nico in the lead role (after her appearance in La Dolce Vita and just prior to the single she cut with Jimmy Page for Andrew Loog Oldham). Created by Gainsbourg with arranger and longstanding collaborator Alain Gourager, the music is fittingly the cool jazz of dingy nightclubs and seedy bordellos, with Gainsbourg on piano, and there's the sultry title track, delivered breathlessly by Juliette Greco. Another lost gem for all serious Gainsbourg fans.
TAPETE RECORDS (GERMANY)
CAT #: TR 524CDROBOCOP KRAUS Why Robocop Kraus Became the Love of My Life 2CD
Long time no hear: after an extended hiatus and just the occasional gig, Robocop Kraus have rewired and reunited. They're back in the game. Almost a quarter of a century has passed since the band was formed, a period which saw them release on labels like L'Age D'Or, Epitaph, and Anti. Now they have put together a compilation featuring all of the tracks which, for one reason or another, were not available on their regular albums, with an intriguing number of rarities and previously unreleased material. Meticulously detailed liner notes courtesy of the band. Artwork by Lorenzo Zimmermann."Why Robocop Kraus became the love of my life. Good question, if indeed it is a question (no question mark in sight): Founded in the late 1990s by members of former (secondary modern and grammar) school bands in the small Middle Franconian town of Hersbruck, endowed with the most rudimentary technical skills on their respective instruments (the deal was that every band member would play an instrument he had yet to master) and unafraid of hammering out songs from blatantly pilfered or well-worn musical ideas, the band was, to all intents and purposes, set up to fail. Nevertheless, Robocop Kraus became the love of our lives: five albums between the years of 1999 and 2007, the first on the band's own label Swing Deluxe, the last on the internationally renowned Epitaph label. Hundreds of shows across Europe, the USA, Russia, and Japan. Encounters and friendships with people and bands, adventures and events in squats, bars and clubs. Enough answers? Things quietened down in 2010, a lengthy break with just the odd show here and there. But last year, 2021, we had to concede that Robocop Kraus really are the love of our lives: a concert request was spontaneously accepted -- surprising even the promoter, not to mention ourselves. Back to the rehearsal room. Now we are six and we have more instruments too. We had to listen back to the old songs so we could practice, and as we rummaged through the archives we happened upon the 28 songs now gathered here together for you. They range from our very first recordings to songs for (and in) 2022. EPs, compilation tracks, a few all-time faves like 'Poor Soul Relax' and previously unreleased songs or alternative versions..."
THE WIRE (UK)
CAT #: WIRE 466WIRE, THE #466 December 2022 MAG
"On the cover... Richard Pinhas: France's master of cosmic rock has come through his game-changing 1970s group Heldon to become an international trailblazer of guitar noise, forging links with Wolf Eyes, Tatsuya Yoshida, Pascal Comrade and many others. As a brand new album CODA with Merzbow and Oren Ambarchi is released, he talks to Daniel Spicer about his extraordinary orbit; Inside the issue... The Primer: French underground rock: A user's guide to Francophone revolutionary rock music, as Keith Moliné explores the 1960s and '70s psychedelic realm of Heldon, Komintern and Red Noise through to the legacies of groups such as Magma in the '80s and beyond; Weyes Blood: Celestial American songwriter Natalie Mering talks visions of the apocalypse with Emily Pothast, as Sub Pop release new album And In The Darkness, Hearts Aglow with contributions from Mary Lattimore and Oneohtrix Point Never; Invisible Jukebox: Chicago-based globetrotting percussionist Hamid Drake feels the universal vibrations of The Wire's mystery record test; Global Ear: James Gun visits the DMZ Peace Train Music Festival in Gangwon Province, whose mission to reunite the divided Korean peninsula has become more urgent in an era of hawkish politics; Unlimited Editions: Boundary-breaking online sound art and feminist thought archive rec-on.or forges new global networks to counter colonialism and structural inequality. By Stephanie Phillips; Unofficial Channels: Emily Bick enjoys a snack and some adventurous sounds following the daily Twitter recommendations of Japanese music cafe Jazz??????; Epiphanies: Anarchic European experimental turntablist DJ Marcelle discovers a life-changing taste for outsider art; Plus, one-page interviews with Noor Baksh, Suzi Analoge, Zubin Kanga, and Ale Hop."
THIRD MAN BOOKS
CAT #: TMB 013BKPOP/JEFF GOLD, IGGY TOTAL CHAOS: The Story of the Stooges / As Told by Iggy Pop Book
"TOTAL CHAOS: The Story of the Stooges / As Told by Iggy Pop features even more new, never before seen photos than the original hardback book, plus an additional chapter from legendary vocalist of Black Flag, Henry Rollins. TOTAL CHAOS was already the definitive oral history in words and images of The Stooges. Now, updated and revised is the new 9.5" x 7" high quality paperback art book featuring all the hundreds of full color photos from the classic hardback plus new bonus material. There is no other book like this that documents one of the USA's most influential groups in the words of Iggy Pop himself!" 9.5x7 inches; softcover; 1.6 lbs.
CAT #: TMB 044BKGOODY, MATTHEW Needles and Plastic: Flying Nun Records, 1981-1988 Book
"With his gratifying archive, Matt Goody details one of the most successful eras in the history of rock music -- Flying Nun Records, formed in 1981 by Roger Shepherd in a Christchurch record shop. Shepherd and his brilliant cohorts served up the legendary output of not only kingpins like The Clean, The Chills and Tall Dwarfs, but also captured the best from favorites of mine like Able Tasmans, Bird Nest Roys, Look Blue Go Purple and The Verlaines. Goody provides the most comprehensive presentation yet of Flying Nun's rise from Shepherd's notepad to international underground rock sovereignty -- and a vital part of one nation's collective art history." --Bob Nastanovich, Pavement "In this remarkable tale of creativity and chaos, do-it-yourself innovation and extraordinary attempts at world domination, Needles and Plastic tells the inside story of one of New Zealand -- and the world's -- great independent music labels. Hundreds of full color & black and white photos illustrate the story! Founded in 1981 by Roger Shepherd in Christchurch, New Zealand, Flying Nun Records unleashed an extraordinary wave of music that had an impact around the world. Needles and Plastic is the first comprehensive history of the early years of the label and its bands covering the critical period from 1981?1988 when many of the most influential and critically acclaimed artists emerged on Flying Nun, bands like -- from The Clean, The Chills, The Verlaines, Straitjacket Fits and Bailter Space. The influence of the obscure label became apparent in the 1990s, when big-time indie acts like Pavement, Cat Power or Yo La Tengo started covering Flying Nun bands. In entries on over 140 records from The Clean's 'Tally Ho!' 7" in 1981 to The Verlaines Bird-Dog LP in 1988, Matthew Goody tells the story through the records themselves. His book draws on years of in-depth research to reveal the stories of the bands, the recordings, the songs, and the audience, with a host of significant characters contributing along the way -- Shepherd, Chris Knox, Doug Hood, Hamish Kilgour and many more. In this remarkable tale of creativity and chaos, do-it-yourself innovation and extraordinary attempts at world domination, Needles and Plastic tells the inside story of one the world's great independent music labels." 8x1.1x9.9 inches; 2.4 lbs.; paperback.
THIRD MAN RECORDS
CAT #: TMR 750LPVA Southeast of Saturn: Vol. 2 2LP
"Third Man Records is excited to announce Southeast of Saturn Vol. 2. The compilation is a follow up to 2020's Southeast of Saturn, a collection of music from Detroit's space-rock/shoegaze/dream pop scene of the '90s. The second volume expands upon the Michigan-centric aural delights purveyed on Vol. 1, by including groups from throughout the Midwest. Highlighting groups spanning Michigan, Ohio, Illinois, Indiana, Wisconsin, and Minnesota, Vol. 2 works to cement the Midwest's status as a breeding ground for the space-rock and shoegaze subgenres, which more famously burgeoned in the UK. Once again, there are no big names or crossover artists on Southeast of Saturn Vol. 2. However, for those who know that digging deep in the real and virtual record bins yields the greatest rewards, this 18-track compendium will trigger profound swoons. We've scoured the Midwestern underground, highlighting the evanescent acts of the '90s such as Star Phase 23 and Sidereal, so you don't have to. Southeast of Saturn Vol. 2 is first-class aural escapism from America's big-shouldered outpost of outward-bound rock."
CAT #: TMR 752LPWHITE, JACK Fear of the Dawn LP
"Fear of the Dawn is the fourth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing, and released by Third Man Records."
CAT #: TMR 753LPWHITE, JACK Entering Heaven Alive LP
"Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, pressed to vinyl at Third Man Pressing, and released by Third Man Records."
CAT #: TMR 769EPWHITE, JACK Love is Selfish/Fear of the Dawn 7"
"Psssst...word on the street is that this is the only place to get this version of 'Selfish' on vinyl. Contemplative and unabashedly acoustic, the LP version is a totally different take. Coupled with the intense, punk ferocity of 'Fear...' and the diametrically opposed vibes of each of these sides complement each other in the same way that the albums they emanate from do. Can you front on that?"
CAT #: TMR 772LPRUTH, RICH I Survived, It's Over LP
"Recorded under a loft bed in the guest bedroom of his Nashville home, Michael Ruth aka Rich Ruth's I Survived, It's Over starts in a humble space. And while many contemporary music projects are produced in such an environment, I Survived, It's Over sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. This music goes deep. 'I conceived much of this record amidst the quiet and tumult of 2020 in my neighborhood that had recently been ravaged by a tornado,' Ruth recalls, 'I spent most of my days working on these pieces between bicycle rides -- watching the beautiful Tennessee ecosystem flourish in Shelby Park, listening to Keith Jarrett's The Koln Concert and John Coltrane's Ascension.' Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by John McEntire from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. 'Working on this music is a daily meditation,' says Ruth. 'I constantly experiment with sound until it reflects the way I am feeling and attempt to sculpt something meaningful from it. Through years of being a touring musician, it is a constant inspiration and privilege to collaborate with the individuals that graced this record with their voices.' And those relationships pay off, because I Survived, It's Over is a sonic meal. It's rich (no pun intended) with massive instrumentation that's usually reserved for more symphonic delights. But at the same time it's simple and leaves space to breathe -- space you didn't know you needed. In his own words; 'I Survived, It's Over is a meditation on healing, confronting trauma, surrendering, and finding peace. I wanted to encapsulate the tranquility and disarray found within this process.' Ruth's heart and the peace that his presence produces is all over this album . . . I Survived, It's Over is a record you should buy for your friend, your foe, and yourself. It'll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura."
CAT #: TMR 774EPWHITE, JACK Hi-De-Ho (feat. Q-Tip)/Queen Of The Bees 7"
"With the a-side featuring both Q-Tip and an iconic sample of Cab Calloway's song of the same name backed by a guitar tone summoned from the depths of Hades, 'Hi-De-Ho' is one of the most ambitious and unique recordings to ever come from Jack White. Coupled with the light, effervescent percussive feels from 'Bees' and the diametrically opposed vibes of each of these sides complement each other in the same way that the albums they emanate from do. Don't you dare front on that."
CAT #: TMR 775CDISOKRATISSES Cry With Tears: Greek-Albanian Songs of Many Voices CD
"Isokratisses (Greek for women who sing the 'iso' or 'drone') is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. 'It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or 'drone' that is the low tonic note of the melody.'"
CAT #: TMR 775LPISOKRATISSES Cry With Tears: Greek-Albanian Songs of Many Voices LP
LP version. "Isokratisses (Greek for women who sing the 'iso' or 'drone') is a vocal ensemble comprised of eight women who carry the ancient tradition of polyphonic songs from Epirus: a region in northern Greece and southern Albania. Born and reared in the Greek speaking villages around Deropoli and Politsani in Albania, the women of Isokratisses have sung these songs since childhood. The group ranges in age from 19 to 56 with some sisters in the group as well as an aunt. They were nurtured by this archaic music, listening and singing it with their family and friends. The songs were passed down from generation to generation. The group started its artistic activity in 2015, after the singer Anna Katsi took the initiative to encourage the younger members to perform regularly. The communal nature of polyphonic singing is a way of revitalizing an art that has declined in recent years and to reassert the primacy of female voices in the southern Balkans. Singing these songs builds an invisible bridge that connects the present with the past, the memories of childhood travel with the immediacy of daily life. Third Man Records will release a full album of these solo polyphonic songs, with Grammy-winning producer Christopher King. 'It is social music, woven into the fabric of poor, marginalized, and disenfranchised communities. Many of the songs are variations of mirologia (songs of fate, songs of morning) that used to be sung throughout the southern Balkans but have largely disappeared on an informal cultural level except for Epirus. Structurally, the songs are pentatonic (five notes with no semitones) and are composed of three or four distinct melodic voices that weave together in an organic yet unexpected way. The remaining members of the group provide the iso or 'drone' that is the low tonic note of the melody.'"
CAT #: TMR 810EPWHITE, JACK What's The Trick?/If I Die Tomorrow 7"
"'Tomorrow' is a somber, Mellotron-fueled exercise in meditative, poetic morbidity while 'Trick' kicks off with a lyric borrowed from dialog in the 1942 film The Magnificent Ambersons while its incessant, fuzz-blasted riff propels a vocal delivery reaching Beefheartian levels of absurdism. The diametrically opposed vibes of each of these sides complement each other in the same way that the albums they emanate from do. You can't front on that."
THROUGHTWELVE COMMUNICATIONS (ITALY)
CAT #: TTC 001LPTHROUGH TWELVE Inner Bridges LP
Through Twelve are a Milanese duo active since the early 1980s and already featured on the compilation published by Spittle Records, Milano After Punk (SPITTLE 092LP). Many years have passed and they release their first mini-album produced by Fred Ventura and Paolo Gozzetti aka Italoconnection. Modern new wave sounds veered towards a synth-pop feel, with more than just reminiscent of Factory Records. Pulsating rhythms and analog synths aiming at the club scene while maintaining a strong radio impact. Two remixes by Italoconnection and Mono Han complete the album.
CAT #: TRD 011LPWASSERMANN, UTE Strange Songs LP
"Multiphonic trills and yodels, loops of ululations, sudden percussive outburst, warbling glissandi. Ute masks her voice with bird whistles creating a hybrid vocal persona with sculptural, oscillating, swirling tone-colours. The vocal sounds seem to be disconnected from the human voice dissolving into the sounds of birds, of machines, of electronics, of fragmented language." "Ute Wassermann's vocal practice is so unique and specialized that it seems to challenge our ability to understand it's sounds as vocal." --Aaron Cassidy, Noise in and as Music, University of Huddersfield Press, 2013 "Wassermann sings as a bird, rather than like one. And as philosophers Gilles Deleuze and Félix Guattari point out in A Thousand Plateaus, 'Becoming is never imitating ... The Wassermann soundworld takes form within waveflows and fluctuating particles." --Julian Cowley, Outer Limits Review, CD review radio tweet, The Wire, March 2016 (Issue 385)
CAT #: TRESOR 137X-EPDREXCIYA Hydro Doorways (2022 Reissue) 12"
Just a month after the album release of Neptune's Lair in September 2022 (TRESOR 129X-CD/LP), its companion 12" Hydro Doorways will be second in the series. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rightsholders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. 180 gram vinyl.
CAT #: TRESOR 181X-CDDREXCIYA Harnessed The Storm CD
Reissue, originally released in 2002. Tresor Records announce forthcoming special editions of its entire catalog of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rights holders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. These editions will be released sequentially, bimonthly, starting early-September 2022. Harnessed The Storm and Digital Tsunami (TRESOR 182X-EP) come in November. The series will be completed by the long-awaited re-release of Shifted Phases - The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope. These records, individually and as a catalog, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.
CAT #: TRESOR 181X-LPDREXCIYA Harnessed The Storm 2LP
Double LP version. 180 gram vinyl; silver pantone, UV spot varnish. Reissue, originally released in 2002. Tresor Records announce forthcoming special editions of its entire catalog of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rights holders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. These editions will be released sequentially, bimonthly, starting early-September 2022. Harnessed The Storm and Digital Tsunami (TRESOR 182X-EP) come in November. The series will be completed by the long-awaited re-release of Shifted Phases - The Cosmic Memoirs Of The Late Great Rupert J. Rosinthrope. These records, individually and as a catalog, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations.
CAT #: TRESOR 345EPYAZZUS Black Metropolis 12"
Yazzus follows up her appearance on the Tresor 30 compilation with a new EP named Black Metropolis. Within its, at times, rough-hewn textures lies a core that explores joy and energy within the roots of black techno. In her words: "I want this release to be black and beautiful, to be queer, and playful, a nostalgic nod to the '90s but also reimagining it in the current times." The Ghana-born, London-bred, now Berlin-based producer's research into Afro-futurism, envisaging a path forward for science, technology and culture through the black experience, has impressed a deep vision on this EP. Yazzus sets like a cartographer, using her tracks to explore a technologically advanced world, each representing different regions and environments. "Human Error Processor" introduces an ear-worming percussion pattern nearly swamped by distorted bass drums and a vocal sample screwed just beyond recognition. "Perforated" leads with a 150bpm four to the floor stomp, infectious and supercharged. Gluey synth motions soak in an otherworldliness, where industrious, mechanical rhythms map out futurist structures in all directions. "Metro City Bay Area" exhibits a ghetto tech soul, lean and bouncy -- this part of the galaxy is an infinite source of fun, with the heart of groove at its core. "Three Deities" brings adventurers of its region towards higher powers, its rave-y synths and an engulfing bass provoke a complete NRG release, ascending into a spiritual trance where dense melodies bubble and fizz. 180 gram vinyl; full printed sleeve.
CAT #: TRESOR 349EPJENSEN INTERCEPTOR X DEFEKT Free Your Body 12"
Ignore expectations and Free Your Body. Travel a new path and Free Your Body. Accept the limitations and Free Your Body. Free your mind then Free Your Body. Move to the beat and Free Your Body. 180 gram vinyl; obi strip; full printed sleeve; includes download code.
CAT #: TRI 406CDSPIRITUAL FRONT Rotten Roma Casino CD+DVD
2010 release. The "armageddon gigolo" is back: after the succinctly titled first album for Trisol, on Rotten Roma Casino, the charismatic Italian heartbreaker Simone Salvatori's band once again define that which they have shaped like no other: "suicide pop". That is to say: melancholy melodies, stirring guitar chords, emotional vocals, and yearning string passages, but also solid-groove beats and macabre phrases. Just as the recipe was fully finalized on Armageddon Gigolo (2006), which defined the genre single-handedly, Rotten Roma Casino goes a decisive step further. They once more summoned together the proven ensemble featuring chamber musicians associated with Ennio Morricone and created a whole series of musical gems which you can't get out of your head after just a single hearing. As per the title, it's about Rome -- a metaphorical, decadent Rome however, a parallel to the Roma of Fellini, full of wonder, monstrosities, and passions. They pay homage to the orgiastic, wild, and ambiguous in such a way, particularly on the intense video clips which are featured on the bonus DVD, as to conjure up the immortal spirit of Rainer Werner Fassbinder. The doleful "Sad Almost A Winner" orientates itself towards his homoerotic melodrama, Fox and his Friends, while the clip for "Darkroom Friendship" pays homage to the promiscuous bisexual passion of frontman, Salvatori. Salvatori acknowledges that without Fassbinder's controversial "sex and death" drama Querelle, he probably wouldn't have founded Spiritual Front. To all this are added harmonies which seem to derive from the legendary creators of film music, Ennio Morricone and Nino Rota. Spiritual Front carries their unmistakable Italian spirit into the post-modern. With Rotten Roma Casino, Spiritual Front consciously shake off their underground roots in order to invent their own unique variety of morbid folk-pop which blends indie rock, acoustic chords and tango into a new, intense and above all heartrending, genuine mixture. It is still Elvis Presley's libertine little brother: Hellvis. With auratic timbre in his voice, he once again sings about the impossibility of love and the pain which it leaves behind. Rotten Roma Casino is a fresh and original but at the same time mature and majestic musical work, without compromise but yet catchy; slightly sweet but yet disturbing. CD plus DVD in eight-panel digipak; DVD is Stereo 2.0, PAL, 4:3, All Regions; includes special Leporello fold booklet with precious art print on high-quality paper including lyrics and exclusive photos; also includes fold-out poster.
CAT #: TRI 476CDSPIRITUAL FRONT Open Wounds 2CD/BOOK
2013 release. Songs are like open wounds. Music can hurt. Can strike new wounds and tear up old ones. No one is more aware of this than Simone "Hellvis" Salvatori. His feverish music is a diary of his failures and triumphs, a deep scar running through his work. He finds pleasure in the pain it causes him, sheds tears for the lust it evokes in him. Like an Italian Johnny Cash, he clads his life in intimate ballads of becoming and withering, of sex and death. Spiritual Front is the folk noir crossbreed of Ennio Morricone and Nick Cave -- suicide pop from a decadent otherworld. Where secret passions are whispered into darkness, where dream and waking, intoxication and hangover dance closely, Open Wounds feels at home: Morbid mafia folklore for hedonistic self-destructors, murder ballads for decadent lotus-eaters. Like a heavy red wine, Spiritual Front's music gets better and better over the years -- ever more exhilarating, ever more effective. As if Simone Salvatori had to reach a certain age to understand his music properly. As if he had to accept that living means suffering. Now, the erotic enchantment of his masterpiece Armageddon Gigolo is back. On Open Wounds, it mates with delicate prowess and baffling arrangements that would invoke envy in every mafia orchestra. Sacred profoundness turns to sweaty sheets when Simone Salvatori sings for his soul, when he trembles, hope, loves, suffers and lives. The machismo and his guitar, joined by the orchestra -- Open Wounds is the epitome of suicide pop. Sexy to the brim, sensual even in the face of certain death, full of whipping urgency. To this, the bonus CD comes as a sharply accentuated contrast, uniting instrumentals, alternate versions and stunning reworks: A calm and very moody view into the artistic life of this abyssic gigolo. This second album is like the cuddling after the all-consuming act of love that is Open Wounds -- and Spiritual Front is the lover that disappears before dawn. Only a dream? The wounds tell a different story. Double-CD in book format (appr. 14x21 cm); bonus-CD includes 11 tracks; hardback book with elaborate thread stitching; 40-pages extra-booklet, art print on high-quality paper.
CAT #: TROST 224CDGUSTAFSSON & NU ENSEMBLE, MATS Hidros 8 - Heal CD
Personnel: Anna Högberg - alto and baritone sax; Mats Gustafsson - baritone sax and conductions; Susana Santos Silva - trumpet; Per-Åke Holmlander - tuba; Hedvig Mollestad - guitar; Dieb13 - turntables; Christof Kurzmann - lloopp, voice; Massimo Pupillo - bass; Gert-Jan Prins - drums and electronics; Ivar Loe Bjørnstad - drums.Recorded at DE Studio, Antwerp, November 23rd, 2016. Mixed by Mikael Werliin. Mastered by Lasse Marhaug. Cover illustration/design by Lasse Marhaug.
CAT #: JBH 094LPMAGICIAN Magician LP
Reissue, originally released in 1977. Mythically rare British album from the late 1970s, only a handful of original copies have ever been found. This is because a 1977 British jazz album that looked like a 1970 prog album that was issued on a brand-new label that didn't know what it was really doing, so it was never going to sell. And it didn't. But this is a unique jazz/fusion album from the period, sounding like an incredibly hip 1973 library LP, all super funky, occasionally dark, atmospheric, and very hip indeed. Performed by a killer line-up of top musicians, including the legendary Barbara Thompson. Reproduction of classic and super rare UK only original with new and very informative sleeve notes.
CAT #: JBH 097LPGEESIN, RON Sunday Bloody Sunday LP
Sublime unreleased soundtrack by Ron Geesin for one of the most important and controversial films in British cinema history. Side one is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson, and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well-adjusted and at peace with his sexuality. Features Bridget St. John on two tracks. The music on side two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called Viv it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards's rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was -- and wearing his Rasta sweatbands of gold, green and, red, was inspirational. The documentary was later re-titled Viv Richards - King Of Cricket for the video market. The last six cues of side two are from a 1970 BBC Omnibus film Shapes In A Wilderness. Directed by Tristram Powell, this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron's finely tuned accompaniment. The music confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians). Sleeve art taken from the 1971 film poster.
CAT #: VHF 156LPASHTRAY NAVIGATIONS The Apotheosis of VaVaVoom LP
"Third VHF dispatch from the mighty and prolific Ashtray Navigations, following 2020's mega and extremely popular Imaginary Greatest Hits package. The curiously titled The Apotheosis of VaVaVoom is one of Phil Todd and Melanie O'Dubhshlaine's most direct and rocking packages, with mucho ripping lead guitar action backed by some absolutely fun bubbling synth and drum grooves. 'Irons Three' kicks off with wicked wah'd out leads, followed by the subdued ambience of 'Tasteful Grey Putting' and 'Appropros Tower' and a segue into the driving 'Hinges on the Clapometer.' Side two's opening combo of 'Slush Puppy Window' and 'Avatar Down The Highway' sounds like a head on collision between Terje Rypdal and Tangerine Dream on a dark bender, with laser guitar over a bed of tumbling electronics and tiny noises. The closing 'Crack Another Bloodcapsule' is one of Ashtray Nav's all-time best, like a lost krautrock classic jam with a driving rhythm from guest drummer Alex Neilson." Green vinyl.
CAT #: VHF 157LPGANGLOFF, MIKE Evening Measures LP
"First solo LP in a decade from long-time Pelt/Black Twigs/Eight Point Star leader, presenting a remarkable program of solo Hardanger and octave fiddle music. Evening Measures is a bold and unique statement, a direct and disarming individual expression of a musician's inner thoughts and inspirations. Like some of Mike's work in other projects, this ricochets back and forth across the line between the most traditional and the most 'out' music, blending drone, melody, and the pure tactile sensation of acoustic string music into a personal sound. A set of all-original compositions (save the traditional 'Wild Geese Chase'), Mike's playing is languorous and expressive, with the sympathetic strings of the Hardanger-style instrument ringing out on some cuts like multiple players. The album touches on a variety of styles, keeping things fresh for the entire playing time. 'The Other Side of Catawba' is a deeply psychedelic and immersive cloud of hovering string sound, reminiscent of some of Pelt's more gentle explorations. 'New River Suite' (some of which appeared in group versions by Eight Point Star on a PBS documentary about Appalachia's New River) is a keening set of themes that have the memorable melodies of established traditional repertoire but are all completely new. 'Wild Geese Chase' is a rugged and wild slash through a well-known fiddle standard. 'Halfway From Shawsville' rounds things out with a lovely tribute to Mike's Virginia town."
CAT #: VPMLP 9052LPGAUDI + MISTA SAVONA Havana Meets Kingston in Dub LP
"Australia's leading reggae producer, arranger and musician Jake Savona (aka Mista Savona) brought together a stellar assortment of Cuban and Jamaican musicians in 2017 to create a collection of re-interpreted classics and original songs as a sound- track to a documentary of the same title. Havana Meets Kingston is a tour through these two historic island nations highlighting the common ground between the two, through rhythm and culture. In 2021, Mista Savona collaborated with Italian record producer Gaudi to create a dub version of selected tracks from the original album for a nine-track LP titled Havana Meets Kingston In Dub. Featured artists include Sly Dunbar & Robbie Shakespeare, Randy Valentine, Prince Alla, Winston 'Bopee' Bowen, Ernest Ranglin, Felix Baloy, Pepe Ordaz, Julito Padron, Rolando Luna, Bongo Herman, Oliver Valdes, Carlos Aduras, David Swarez."
CAT #: W25 009LPCINDY LEE Model Express LP
2022 repress. "Cindy Lee, the performance and songwriting vehicle of Canadian artist Patrick Flegel (who fronted influential indie group Women earlier), previously stunned listeners with Act Of Tenderness, a heart-wrenching statement informed by the noirish core of celebrity, and has continued to enchant with every album, including the startling What's Tonight To Eternity released earlier this year. Model Express originally appeared as a self-released edition of 100 gold cassettes. The arch, filmic drama of Cindy Lee's songwriting -- realized with keyboards, guitars, aching voice and collaged, lo-fi production -- traverses a wide range of emotional and sonic terrain. The red velvet psych-pop of 'What Can I Do' gives way to the fluid 'Diamond Ring' like radio bursts from space. Model Express finds Flegel at both their most experimental and immediately melodic, and this first-time vinyl release recognizes the collected tracks as a pillar in the Cindy Lee catalogue. Cindy Lee (who uses the gender neutral pronoun they) is a drag persona drawing on suburban closet queens and mid-century divas. In keeping with Flegel's interest in the fault lines of identity, gender expression, performance and media, Model Express delivers an intense and diverse set of unforgettable songs."
CAT #: W25 013LPCINDY LEE What's Tonight To Eternity LP
2022 repress. "For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. 'Singers like Patsy Cline and The Supremes carried me through the hardest times of my life,' explains Flegel, 'and also provided the soundtrack to the best times.' Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies -- a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder. What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide. Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer/drummer's early recordings as well as her look and style. 'I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown.' What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song 'Heavy Metal' (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked."
WE RELEASE JAZZ (SWITZERLAND)
CAT #: WRJ 006LTD-LPBOILLAT THERACE QUINTET Boillat Therace Quintet LP
2022 restock; LP version. We Release Jazz present its sixth release, a reissue of Boillat Thérace Quintet's self-titled album, available for the first time since its original limited private pressing in 1974. Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard's "Straight Life", Keith Jarrett's "In Your Quiet Place", and Rahsaan Roland Kirk's "Sweet Fire", plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety "1224" is dedicated to Geneva's public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: "Cenovis"! This is reissued in conjunction with Boillat Thérace Quintet's My Greatest Love featuring Benny Bailey from 1975 (WRJ 007CD/LTD-LP). Swiss jazz bliss!
CAT #: WWSLP 060LPVA Sharayet El Disco: Egyptian Disco & Boogie Cassette Tracks 1982-1992 LP
Repressed. Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.
WORM DISCS (UK)
CAT #: WDSCS 014LPRUN LOGAN RUN Nature Will Take Care Of You LP
Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You -- a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol's ever fertile improv scene. The core of Run Logan Run's sound is the dynamic conjunction of Matt Brown's agile and powerful drums with Andrew Hayes's looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiraling energies generated by this essential musical relationship. Explorations of repetition, dissolution, and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes's unshackled journeys into sound. But though they began within Bristol's improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021's For a Brief Moment We Could Smell The Flowers (WDSCS 007CD/LP) allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You -- and the duo's vision has broadened a step further. Both band members have recently won the prestigious Montreaux Jazz Award alongside prestigious artists such as Shabaka Hutchings (Comet Is Coming) and Michael League (Snarky Puppy).
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 028LTDHIROSE, YUTAKA NOVA + 4 2LP
2022 restock; double LP version. Gatefold sleeve: Includes liner notes in English and Japanese. WRWTFWW Records present an expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA by Yutaka Hirose, originally released in 1986. The expanded reissue includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as four never-released-before recordings over 50 minutes. Initially released in 1986 as part of the Soundscape series. Commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/
CAT #: YNFND 024EPROMANSKI Karma Calling 7"
Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the Hamburg based DJ and producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives and dimmed synth themes flow along the four tracks (two of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an Iranian children's song, "Gaugin" features a Tahitian vocoder line about the French painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range and tools to express his downbeat grooves in this well-balanced release. Hide below or turn around the umbrella with devotion and delight.
CAT #: ZEHRA 002LPMASTER MUSICIANS OF JAJOUKA FEAT. BACHIR ATTAR, THE Apocalypse Across The Sky 2LP
2022 repress. Zehra present a reissue of Apocalypse Across The Sky by The Master Musicians of Jajouka featuring Bachir Attar, originally released in 1992. Available on vinyl for the very first time. Produced by Bill Laswell, remastered for vinyl by Helmut Erler at Dubplates & Mastering, Berlin. No matter if you consider the Master Musicians of Jajouka a "4,000 year-old rock n' roll band" (William S. Burroughs) or even "6,000 years old" (Ornette Coleman) -- without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism, and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader Bachir Attar, and till today every year at the end of Ramadan a fire in honor of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute), and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties. In the 1950s, Brion Gysin along with Paul Bowles were among the first westerners to witness such a ceremony, and it was Gysin who invited the Master Musicians of Jajouka to play in his restaurant in Tangier, and who later (in 1967) brought Brian Jones to the small village of Jajouka where the Rolling Stones guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the Master Musicians of Jajouka in the western world. Since those days, a wide number of creative minds like William S. Burroughs, Ornette Coleman, Marc Ribot, Flea, Talvin Singh, or the Rolling Stones have worked with the Master Musicians of Jajouka who are now performing regularly outside Morocco. In 1991, iconic producer Bill Laswell also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his Axiom label -- Apocalypse Across The Sky is, unlike other Laswell projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks among the essential recordings according to the world music magazine Songlines. 180 gram vinyl; gatefold sleeve; includes download code.new releases are also viewable at https://www.forcedexposure.
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com