ESP-Disk present a reissue of Albert Ayler's Prophecy, originally released in 1975. Recorded in concert at the Cellar Cafe, NYC, June 14, 1964. Three weeks before this trio recorded ESP-Disk's first jazz album, the epochal Spiritual Unity (ESPDISK 1002CD/LP), it was captured "live" by Canadian poet Paul Haines, who also recorded the New York Eye and Ear Control soundtrack (ESPDISK 1016CD/LP). This is one of the most influential groups in jazz history, a coming together of like-minded innovators who would be considered crucial influences by succeeding generations, so there is no question of the immense value of this material. Yoked, in the CD era, to the one-sided 1965 LP Bells (ESPDISK 4076CD), made with a different band in a very different style a year later, it is perhaps best appreciated on its own. Personnel: Albert Ayler - tenor saxophone; Gary Peacock - bass; Sunny Murray - drums; Paul Haines - engineer. Presented here on opaque yellow vinyl.
Function Underground: The Black & Brown American Rock Sound 1969-1974
"The CD includes a 24-page booklet with extensive notes on an overlooked and important portion of rock n' roll's history. Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, blues, R&B, soul, hip-hop, house, gospel. One influential genre is always left off of the list: a folk music known as rock n' roll. Rock n' roll was a term originally coined to market the white-friendly version of a genre that already existed; prior to 1965, the line between rock n' roll and R&B was thin: Ike Turner recorded and released 'Rocket '88' ' in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is regarded by many as the first rock n' roll record. The Great Divide between R&B and rock n' roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964. Simultaneously, R&B entered a new phase, soon to be labeled 'soul,' which upped the music's gospel quotient and turned its frantic twang. So somewhere in the mid to late-1960s, rock n' roll became perceived as something for the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world. While that couldn't be farther from the truth, that false dichotomy has existed in America's popular conscious ever since, to the point where the idea of a black rock musician is on the level with the idea of a black cowboy. In the mid-1960s, funk replaced soul as the rhythm that was going to move the world. We know all its progenitor - James Brown, The Meters, Kool & The Gang - and their innovations: the syncopated, 4/4 dance between the bass and drums, horns repurposed as percussion, chicken-scratch and wah-wah guitar. We can trace where they came from. But there is one crucial funk influence that no one seems to want to acknowledge -- a devil-may-care attitude we can attribute to rock n' roll. It's not a stretch to say that funk is the African-American answer to psychedelia and hard rock rolled into one. The idea of 'progressivism' that took over rock music after psychedelia's heyday in the late 1960s belatedly spilled over to funk. In the early 1970s, as the underground/psychedelic fire burnt out in the white rock world, it roared to a blaze in the black musical community. Nearly every American city with a large black population boasted self-contained funk bands that didn't consider themselves simply revues or backup groups, but rather fully-operational ensembles. In these bands, everything from composing, arranging, record production and distribution, was handled in house by band members. These are the bands whose music comprises this anthology, and while they're all different, they're unique in one way: they kept their ears open for new developments in funk and rock music. This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part. While we don't anticipate that we'll ever find a definitive answer as to what these ensembles' true goals were, then, we do know that they took their charges seriously. And they knew they were onto something different, something that, though only they and their immediate kin might recognize it, was more interesting than the status quo. Function Underground shines light on an important and overlooked part of rock n' roll's history and talented ensembles that toiled in the shadows, derided by their peers 'Do you realize that Hendrix was dead before most black people in America knew he was a black man?' Ebony Rhythm Band drummer Matthew Watson questions rhetorically. 'We was scorned. In that era, everybody else in the black community was wearing three-piece suits, processes and Afro wigs and that shit. We was the first guys to wear bell bottoms. The first guys to wear big hats. We were off into a whole other thing.' "
RSD 2017 release. First time vinyl release of The Brian Jonestown Massacre's Pol Pot's Pleasure Penthouse. The only time this album was ever officially released was on cassette on Burger Records (in a limited edition of 500). Recorded in 1990/91 on a four-track at Anton Newcombe's home in San Francisco, Pol Pot's Pleasure Penthouse best described in Anton's own words: "when I left home and moved to San Francisco, first thing on my mind was joining a band... the problem for me was that there were not any bands that would have me or even played the type of music I imagined I wanted to hear... so I decided to start my own... I would make small down payments at pawnshops for gear, buy recording machines, amps, guitars, whatever. Within three months of teaching myself the seven folk chords I use nonstop to this day, I had already taught a few new friends how to play as well and we were off. I used to make up songs everyday on the four-track just to teach myself how to write... I understood what I liked about music, I just didn't know how to pull it out of the ether and bring them into being. At the same time, I would make demo tapes and share them with friends... endless demo tapes... I would send them to magazines and record labels with no return address, just for the fuck of it. It was never my intention to actually release this music... for instance, if I came up with a country song, I would finish it just to learn more about writing... I didn't want to be in a classic country group, this is a document of my learning process. Good times... this album is one such tape from 1990/91, I can't remember. Enjoy." Available here on 180 gram blue colored vinyl.
LP version. Bureau B present a reissue of Jurriaan Andriessen's The Awakening Dream, originally released in 1977. Jurriaan Andriessen (1925-1996) was a Dutch composer. Although he was actually at home in classical music, he recorded three synthesizer albums in the late 1970s, the first of which, The Awakening Dream, is an outstanding excursion into experimental ambient and minimal music. Andriessen himself, 52 years of age at the time, called it a "trance symphony". The music - perhaps surprisingly for a contemporary classical composer - is less in the tradition of his peers such as Pierre Boulez or Karlheinz Stockhausen and more in tune with the electronic sounds of the '70s emanating from Berlin, Düsseldorf, or Forst, the likes of Cluster, early Kraftwerk, and Tangerine Dream, in places echoing Conrad Schnitzler. Andriessen was familiar with the work of these artists, but was probably more influenced by minimalist composers like Philip Glass or synthesizer pioneer Walter Carlos whom he admired. The entire album is played on a Minimoog Model D, a Fender Rhodes piano, a Hohner Clavinet, and a Philicorda organ. It was recorded sound on sound, before the 8-track machine entered the studio, using two Revox A77 tape recorders. Andriessen studied in Paris with Olivier Messiaen and in the USA with Serge Koussevitsky and Aaron Copland. Back in Holland he worked for radio, television and theatre. His compositions for state ceremonies such as the coronation of Queen Beatrix and the annual "Opening of Parliament" won him acclaim and he also wrote the music for the Oscar winning film The Assault (1986). Andriessen started to experiment with synthesizers on new compositions in the early 1970s. In 1973, he wrote music for Georg Büchner's play Leonce And Lena and performed it on the ARP 2500 synthesizer. Andriessen was more interested in the challenge of creating new, previously unheard sounds than he was in imitating existing instruments. He strived to invent a novel, unique musical universe. Later he worked mainly with a Minimoog Model D, experimenting and recording in the Dream Studio, the home studio he built with his sons Gijs and Nils in The Hague. As a composer, Jurriaan was always ahead of his time. He loved research and enjoyed using uncommon or newly invented instruments in his compositions, often in unconventional formations. His last work, Jeux Des Vents, appeared in 1996. He died later the same year in The Hague.
LP version. Includes CD. Faust's new album Fresh Air differs in several respects from its predecessor, Just Us (BB 182CD/LP, 2014). The recordings were made at Jean-Hervé Péron's rehearsal studio in Schiphorst in northern Germany, hypnotic pieces with the kind of noisemaking the band is known for. For the new album, Péron and Werner "Zappi" Diermaier were looking for communication with musician friends and the audience. The tracks were recorded in changing ensembles at changing locations in the USA (during a tour in 2016). In these community recordings, with friendly support from Péron's database of field recordings, a strongly shaded noise music emerged which extends its feelers to the remotest corners of the here and now. Droning, swinging, lusting for freedom, here and there holding out quite stoically as machine-room blues. On board are the freely fabulous Barbara Manning in a live lecture, Jürgen Engler (Die Krupps) in overdub, and Ysanne Spevack as a wonderful wave-maker on the viola. The seven and a half minute title track begins with the poem by a French school friend of Péron (translated and recited in Polish) and ends in an industrial sound inferno. The singer cries for "Fresh Air" as if it is being taken away from him. Jean-Hervé Péron offers a political reading: "Can you breathe calmly here, or are we being poisoned?" "Engajouez Vous!" Péron presents this franco-Faustian artificial word to the audience and rewrites the Marseillaise for the here and now in the track "Chlorophyl". And finally, Zappi has his mini-dada performance with "Schnobs" and "Bia": a small dialect-based text piece, which starts with chlorophyl, goes over the meadow past the cow and lands with the farmer who drinks a beer and schnapps and suddenly sees two cows. The story of the band can tell that tale nicely. As Krautrockers, Faust had a worldwide career. On their first three albums in the early 1970s, they inhabited the vast field from improvisation to bricolage to rock'n'roll with the ease of rogues and the determination of declared sonic renegades. One can still feel the breathing of this music in current Faust pieces, in the stone-age thudding of "Fish", which Faust anticipated in 1972 on "Mamie Is Blue". "We let the music play through us," says Jean-Hervé Péron. Jean-Hervé Péron has a little tip for us: Listen to the fish.
Guitars of the Golden Triangle: Folk and Pop Music from Myanmar (Burma) Vol 2
RSD 2017 release. Limited double LP vinyl gatefold edition of the long out-of-print CD from 2005 compiled by Alan Bishop. Never before presented or heard outside a minority of the Burmese community, this unbelievable collection of raw garage rock, psychedelia, folk, blues, and country music is a product of Shan and Pa'o musicians hailing from Myanmar's largest province of Shan State - an area larger than the entire state of New York expanding across sub-tropic tablelands with an average elevation of 3000 feet, perfect for the cultivation of poppies for which it is very well known (in fact and fiction) as the center of the "Golden Triangle". Discover the music of Lashio Thein Aung (AKA "Jimmy Jack" and the "Burmese Texan"), Khun Paw Yann (a "Black Shan" Pa'o rocker), and Saing Saing Maw - the original Shan legend who wrote and sang garage psych rock songs, backed by a tight unit of organ, bass, drums, and perhaps the most stinging electric guitar in Burmese history. There is little reliable information about these mysterious pioneers and many Burmese have never heard any of these tracks. The tracks on this double LP set are from the 1970s and 1980s and are almost impossible to find in any form or quality. They were transferred directly from old cassette tapes and a few cuts have dropouts (some of them quite severe). Most of the master tapes are thought to have been lost or destroyed many years ago so these recordings may be the only link to a phenomenal and forgotten era of Southeast Asian music history and therefore essential for anyone interested in folk, rock and pop styles from lesser-known regions of the globe. Also features: Khun Kan Chwain, Khun Kaung Kay Maung, Nan Phin Sar, and Khun Hla Maung Law.
"Arnold Dreyblatt has been called 'the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s.' Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album -- originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien -- develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums. On Propellers In Love, simple song titles -- 'Odd & Even,' 'Harmonics,' 'Bowing' -- belie intricate harmonic structures. Dreyblatt's modified instruments -- a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation -- undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ('Pedal Tone Dance' and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density. Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine."
. . . Keep it simple . . . Number stamped edition; Full cover art by Pepe; Sealed and shrink-wrapped.
Album sampler from Pessimist; Edition of 350. The Bristol-based producer made an indelible mark on 2016 with an unmistakable signature sound that effortlessly bridges dnb, techno, and abyssal/industrial sound design. His forthcoming debut album will be out on Blackest Ever Black. To prepare the ground, the label have cut two of its heaviest weapons to white label: "Through The Fog", a slab of neo-junglist soundsystem pressure chopping bit-crushed breaks, clipped vocal licks, and bass drones and "Peter Hitchens", a "tribute" in broken techno to the columnist, driven by BMB-style dropforge drums and a tripped-out ARP synth line.
LP version. 140 gram vinyl. Printed inner-sleeves. Galvany Street is the start of a new chapter in the history of Berlin-based duo Booka Shade. Long before Booka Shade became one of the most successful international dance music acts of the last ten years, Arno Kammermeier and Walter Merziger formed a new wave pop band in the early '90s, signed a record deal in 1992 and released two albums under the name Planet Claire. Galvany Street marks the return to their pop roots in collaboration with former Archive singer Craig Walker and a few additional guests like Urdur (GusGus), Australian Yates, and Daniel Spencer from London. Craig Walker on recording with Booka Shade: "As a singer, it's a real pleasure to work with Booka Shade as the music they presented to me was so rich and full of melody. The rhythms and melody are always top level and make the job of writing top lines and lyrics a very enjoyable one. I really love the combination of all our influences -- '80s synth pop, '90s Manchester and right up to more current stuff like The Weeknd -- it's all in there and it makes for a very interesting sound." Mark Plati, known for his production and mixing with David Bowie, The Cure, Prince, and many others, worked on "Digging A Hole", "Eyes Open", and "All Falls Down". Fritz Hilpert, mix engineer and electronic musician, a friend of Booka Shade, got involved with the final mix for "All Falls Down". If you think you know exactly what to expect from Booka Shade, Galvany Street will prove you wrong. You might find the occasional up-tempo beat here and there, but there are hardly any references to any Booka Shade music of the past. 2016's Movements 10, the ten-year anniversary of their milestone album, was the ultimate closure of a chapter, in which everything had been said and done in the realms of a trademark tech house and electro house sound, the project had invented and made popular across the globe. One of the strongest points of Galvany Street is the fact, that many of these songs instantly create a feeling of familiarity, grab you, build an emotional connection, and feel like songs that have been with you for years.
RSD 2017 release. Mamadou Kelly transforms desert blues with modern sophistication. Mamadou Kelly's third album, Politiki brings Kelly and his group BanKaiNa together with Grammy-winning steel guitarist Cindy Cashdollar, drummer Susie Ibarra, bassist Jake Silver, and guitarist Dan Littleton, into a dynamic fusion. Backing musicians for such Malian greats as Ali Farka Toure and Afel Bocoum, Kelly and BanKaiNa push traditions into new waves of sound from the Sahara.
Like Nashville In Naija: Nigeria's Romance With Country Music, Yesterday And Today
RSD 2017 release. "Country music is big in Africa. Yes, we realize how absurd that probably sounds to most ears, but it's really true: American country & western records have been tremendously popular and deeply beloved across the continent for almost a century. The people of the West African nation of Nigeria have long been not only voracious consumers of country music, but fairly enthusiastic performers of it as well. Cowboy songs have remained a consistent part of most bands' live repertoire, but relatively few artists have dedicated themselves to actually recording country music. They did exist, though; mostly in the1970s and 80s, but they were rarely heard outside the country, and in the intervening years, most of their output has fallen through the cracks of posterity, forgotten even by ardent music fans at home. Until now. Like Nashville In Naija: Nigeria's Romance With Country Music, Yesterday And Today collects some of the best country recordings as a loving tribute to Nigeria's cowboy troubadours of yore."
Afrika Bambaataa is one of the originators of breakbeat DJing and is respectfully known as "The Godfather of Zulu Nation" and "Amen Ra of Hip Hop Culture". Afrika Bambaataa's long career is pointed by many hits and masterpieces such as "Reckless", "Unity", "Just Get Up and Dance", and "Pupunanny". Bring It Up is the new release on Dance Floor Corporation and it is This release includes three versions in big room/EDM style along with a mega-mix and a full acapella collection of all previous recordings released by Bambaataa on DFC label. Produced by DJ/producer Paul Carpenter.
Visions Congo is yet another moniker from Discrepant's head honcho, Gonçalo F Cardoso, taking Africa as a starting point to evoke the memories and re-imagined experiences of his six-month stay there in 2015. Most of the recordings and compositions were done in the great lakes of the African regions of Uganda, Congo (DRC), Tanzania, and the island of Zanzibar. Mulago Sound Studio is a series of surreal and augmented field recordings that try to brace the listener with fresh alien authenticity before toying, very pointedly, with antiquated constructs by mixing avant-garde dustbin synth music with concrete field recordings and humorous, tongue-in-cheek intersections -- never to be taken too seriously. Equipped with a brand new art collage by US artist Evan Crankshaw. Mastered and cut at Dubplates & Mastering by Rashad Becker.
Endless Flight present a reissue, credited by Jacob F. Desvarieux, a composer and also well known as the guitarist of Kassav - the one band which continually embodies the word "zouk" for last few decades. "Sweet Florence" shows psychedelic guitar phrases fused together with wobbling heavy synthesizer. "Emotion" is a tropical danceable tune with moving bass and impressive vocoder chorus. Kuniyuki joins with more deep spacey re-edit on the B side, probably we need few words to describe this man in our bio because of his right craftsmanship. Grab one and find yourself in Caribbean exotica.
RSD 2017 release. Two years ago, Julian Cope formed Dope and this 35-minute long introductory LP is just the way-in. Dope is the ultimate cave holler, the festival band from Hell that plays outside the gates of Glastonbury. Five hairy bastards who prefer bongos to congas and who accept classic analog synths, but prefer peculiar boxes that emit randomly until kicked into submission. The guitarist spends most of his time hunched over a hot FX unit. If you adore Amon Düül II, but still prefer the massed abandon of Amon Düül I, Dope is for you. Symphonic no wave.
RSD 2017 release. Single-sided "aquatic clear" 7". Includes a copy of the original press release as well as a press cutting from the time. Limited edition of 1000. As the first and only label dedicated to liberating the private, non-commercial artifacts from Suzanne Ciani's groundbreaking Ciani Musica studio vault, Finders Keepers Records presents the first release of an incredible cryogenically suspended slice of precious, precocious, immersive fledgling synthesis. Ironically well removed from the intention of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound-design was originally proposed by a very young Ciani for exclusive infinite-loop airings in a giant mid-American shopping mall aquarium in 1977. Potentially conjuring ambient scenes from the consumerist satire Dawn of the Dead while sonically ushering in a genuine desire for total musical science reevaluation and revolution via a decidedly mainstream portal, the Fish Music project is a striking, eerie example of how Ciani's "Subversion With A Smile" approach led to a long career of breaking boundaries in formal music technology, film scoring, the advertising industry, and gender equality -- all of which has continued to fuel her passion and channel her life-lust and artistic appetite, much to the benefit of future ambitious trajectories of music. Owing much to the memory of genuine synthesizer maverick Don Buchla, this conceptual release is very much the product of artistic America at its progressive halcyon, but with its illustrious and idiosyncratic composition also communicates subtle undertones of Ciani's feminine Italian origins, which seldom reside outside of the efforts of Roman library composers like Casa, Tomassi, Raskovich, and siblings Antonio and Maria Teresa Luciani. File under... water.
Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Masami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early '70s notorious for its patch matrix, portability, and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40-year-old analog synthesizer is a tool for the ages. Metallic shimmer print on heavy duty jackets; 180 gram vinyl.
RSD 2017 release. "In The Red and 2.13.61 are proud to announce this co-release for Record Store Day 2017! Pure Hell -- The 1975 Acetate. Recorded at Magnagraphics Enterprise Studio NYC 1975. These tracks are two of six that were recorded in the session. The other titles are 'Pretty Poison', 'I'm Crawling', 'Rot in the Doghouse' and 'Cosmic Love'. 'The session was cut onto three two song acetates, in the A and B side order above. This single is the audio carefully transferred from the actual acetate, the only one we have been able to find so far. I have loved this band for nearly 40 years. The chance to team up with Kenny, Larry and Mike to bring this to you is beyond exciting. Long live Pure Hell.' --Henry Rollins 'At the time we were unaware that a whole new trend to be coined 'Punk Rock' would evolve as it did. I'm amazed that this acetate resurfaced after being lost along with the other two, and that Henry, and Larry at In The Red Records would be the ones to illuminate it in the 21st century!' --Kenny Gordon"
UK dance pioneer Sasha doesn't need much of an introduction. Sasha's peerless command of dancefloor sensibilities is on full display with Out Of Time, his stunning debut entry to the Kompakt catalogue: it's a perfectly executed slice of prime time bliss, navigating emotional thrust and propulsive beats with his own effortless style. Refined with the stirring vocals of singer Poliça, the cut serves sweaty clubbing realness with an opulent side of melodic sophistication. Dutch selector Patrice Bäumel rearranges the track as a suitably stomping, minimalistic banger. A simple, yet effective instrumental version of the original rounds out the package.
Double LP version. Includes download code. Berlin's own Marco Haas, aka T.Raumschmiere, made an irreparable impression globally in the '00s as a saw-toothed, anti-rave radical, thanks to his immense stage antics and larger-than-life releases on Novamute. Since then, Haas has established himself as a contemporary with emotive, dark ambient tales on his own imprints Shitkatapult and AlbumLabel. Kompakt's love affair with Haas goes back to their earliest days. Some of his first tracks were released on Kompakt in the form of two raw EPs entitled Bolzplatz (KOM 021EP, 2000) and Musick (KOM 037EP, 2001). These two formative releases elevated the "Schaffel" sound to raw and shameless places never before imagined. The results set a tidal wave in motion that to this day remains one of Kompakt's most infamous legacies. In an off-chance reunion with Haas in his studio, Kompakt learnt about what he'd been doing since the "Monstertruckdriver" days. It turned out he's been ever so busy outside of the mainstream working with the likes of Dieter Meier of Yello, Caspar Brötzmann, Andreas Dorau, Fraktus, Ofrin, or Barbara Morgenstern, and his recent work with Ulli Bomans, aka Schieres, as SHRUBBN!!. Kompakt present T.Raumschmiere's new, epic solo full-length Heimat. It presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. Heimat is a stunning techno album that neither excludes ambient, nor gets reduced to constant ass kicking. It's perhaps the best recording so far from this man who asks so deeply, so extensively, so much. And at some point even answers.
Isolée's Mangroove came about last summer when The Drifter happened to catch Isolée's live set at a festival in Switzerland. Instantly blown away by "Pisco" he was determined to find out what it was and if it was to be released. After chatting, Isolée suggested that he would send "Pisco" along with a couple of other "demos" to Maeve and a few days later, the EP was happening. This three track EP shows several different sides of the Frankfurt native, from the dancefloor catalyst that is "Pisco", to the deeper dubbier "L5 Syndrome" and "Mangrove".
RSD 2017 release. Mannequin Records present a reissue of one of the best minimal synth/cold wave albums of the past 15 years. Dust On Common from Led Er Est (Sam De La Rosa, Shawn O'Sullivan, and Owen Hutchinson) was originally released in 2009 by the seminal Brooklyn based record label Wierd Records. The band's first full-length release showed the three piece clearly breaking out of the minimal synth underground they had been a vital integral part of since its inception in Brooklyn to create an undeniably contemporary set of highly crafted and restrained, icily psychedelic pop songs. Synthesizing countless disparate musical influences from first wave British industrial music to house, disco, and the largely unknown cold wave (aka "La Vague Froide") tradition in Northern Europe, the tracks on Dust On Common fly by, straight out of the frozen hot, lonely cold plains of vocalist Samuel Kklovenhoof's native central Texas. After digesting a few songs of this rich dust, the listener can do no other than lie down in the wild weird Laredo bunker to revel in the refreshingly brisk blast of hedonistic analog pleasure dancing through the airwaves in the sky above... Comes on orange vinyl; Edition of 500.
Sounds of New Music
"The compositions on Side I of this record represent attempts at new means of musical expression. Some utilize conventional musical instruments and sounds in startlingly new ways, giving an impression of an actual 'new' sound being created; some use instruments new to music (electrical, mechanical and natural) adding to the composers' palette of timbres and tonalities. . . . SIDE II of this record is meant as a tool for those using new sounds and techniques in composing. There are basic sounds (some of which are hard to come by) and basic sound patterns, together with examples of how these sounds and patterns may be utilized." --original liner notes by Eugene Bruck
Sounds of New Music is a legendary collection of 18 compositions from the 1920s to the mid-1950s; composers include Edgard Varèse, Henry Cowell, Vladimir Ussachevsky, Otto Luening, Julius Meytuss, Alexander Mossolov, Halim El-Dabh, and John Cage, whose "Dance" is performed on a transformed Steinway piano that gives the music an almost primitive quality. Side B (The Experiments) includes works by Ussachevsky, Henry Jacobs, and Roger Marin & Frederic Ramsey, Jr. Originally released by Folkways Records in 1957.
"This is arguably the best-known recording to feature any beat-era poet. . . . Although 'Howl' is the centerpiece, the peripheral works -- especially the mantra-like 'Footnote to Howl' and 'Howl' (Part One)' -- are given empowering presentations that magnify the greatness that's inextricably inherent in both art and artist. Indeed, the genesis of Allen Ginsberg's brilliance as both poet and performer has rarely been equalled. The modern listener remains entranced by his vaudevillian sense of provocation as it couples with an unspoken, yet palpable obsession of a postmodern amphetamine-fuelled Shakespeare" --Lindsay Planer, AllMusic. Transparent red vinyl replica of the original LP, released by Fantasy Records in 1959.
Double LP version. Dark Sky represent progression. The London duo have never settled for a specific sound nor dwelled in a single niche too long. What's striking about all their releases is their passionate love for all kinds of electronic music, not exclusively dancefloor related. This is no different with Othona, the second album from Dark Sky on Monkeytown. Across nine tracks, Matt Benyayer and Tom Edwards manage to reinvent themselves once more by merging contemporary techno, classic electronica, and their roots in British bass music into a touching and thrilling whole. With releases on Black Acre, 50Weapons, Tectonic, and Mister Saturday Night, Dark Sky have proved their versatility. There's the vibrant deep house of In Brackets (2013), the colorful two-step and breakbeat excursions on Black Rainbows (ACRE 033EP, 2012) and the vocal-laden melancholia of imagin (MONKEY 048CD/LP, 2014). Othona picks up on the sound of their 2014 debut and tweaks it just in the right spots. Matt and Tom left vocals off altogether and left the intriguing melodies, shape-shifting rhythms, and heavy bass do all the dramatic work. A large part of Othona is the result of Dark Sky's touring experience. Years of putting together their live sets encouraged them to focus on hardware instruments and samplers, preferring a more hands-on approach to computer screens. The album is also heavily inspired by photos and field recordings they took of isolated structures within different landscapes. One particular location which caught their attention was Bradwell-on-Sea in Essex, which is based on an ancient Roman fort called Othona. Othona is always challenging and never takes the easy route, but its tracks constantly reveal the purest form of beauty. The title track opens the album and gently introduces its musical range with emotive pads, elaborate beat programming, and subtle club signifiers, which steadily develops into the epic mid-tempo trance of "Domes". The slightly nostalgic synth melodies and cute bleeps of "Badd" bring to mind classic Aphex, which is never a bad thing, while "The Walker" channels ubiquitous melancholy into a standout moment of euphoria. Dark Sky are never short of emotional elements, but they know very well where to put them. Just listen to closing track "Field Tower", giving the kick drum its final overwhelming appearance - no doubt that this is going to be a highlight in their new live set.
Double LP version. With his third album Vin Ploile (MUSIQ 051CD/192LP, 2015) the Bucharest, Romania based producer, musician, and DJ Petre Inspirescu captured a whole new audience and reached out with minimal left-field ambient sounds to music-loving folks that are not part of the worldwide dance music universe. Well known as one of the key figures of the Romanian electronic dance music scene since his first EP Tips on Luciano's label Cadenza (2007), Inspirescu stepped away from club sounds that made him famous due to releases on labels like Vinyl Club, Lick My Deck or Amphia. His two solo albums Intr-O Seara Organica... (2009) and Grădina Onirică (2012), both released on [a:rpia:r] the record label he initiated with his buddies Rhadoo and Raresh in 2007, do not have much in common with the sound of Vin Ploile - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analog electronics. At the end of 2015, his nine slow-swinging arrangements were celebrated in many polls and now, just a bit more than one year after the release of Vin Ploile, Inspirescu delivers Vîntul Prin Salcii, another album enlarged with seven to twelve minute long arrangements, continuing where Vin Ploile ceased. They all listen to the name
"Miroslav" and only differ numerically in their title. You can call them ambient. You can call them minimal music in the sense of classic compositions by Steve Reich or Terry Riley. They groove - sometimes more, sometimes less. They spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analog synth-lines, mesmerizing strings, choral singing, alienated looped vocals, and spaced-out new aged spheres. What unites them all is the way, the melodies dance upon and in each single tune. Their beautiful textures ensnare and they are continuously engaged with experimentation. Vîntul Prin Salcii is a mystical album full of evolutionary music to which each listener is able to paint their very own emotional picture - moody, dark and at the same time light-flooded, shape-shifting compositions. Cover artwork by illustrator and photographer Julian Vassallo.
RSD 2017 release. Cabinet Of Curios is the first ever career-spanning compilation of the solo work of Jowe Head, an essential name in the birth and development of the UK's underground scene. From 1981 debut album Pincer Movement up to 2014 recordings by Jowe Head and The Demi-Monde, plus previously unreleased tracks, these 20 cuts present Head's wonderful mixture of off-kilter pop and avant-garde weirdness, like a noise party attended by Joe Meek, Burt Bacharach and Sun Ra. "If one looks at the galaxy of stars that can be attributed as source material for today's musical DIY/lo-fi generation, Jowe Head shines as a true iconoclast. His 1973 addition to the avant-garage godfathers Swell Maps added an impressionistic edge to their psychedelic punk pastiche that drew of Max Ernst as ably as Can. Later on in The Television Personalities and his Househunters and Palookas projects, not to mention a sprawling solo discography, Jowe's persona injected color and livelihood into an often-too-cool-for-school post-punk scene around Britain while still delivering transportative sounds and open-to-the-listener interpretations. This compendium is in itself a galaxy of sounds that will never fail to deliver." --Brian Turner, WFMU Music Director
Overdrive present a reissue of Moggi's (aka Piero Umiliani) Double Face, a hard-to-find Italian library record, originally released in 1981. The A side is Umiliani's compositions performed by a traditional string orchestra. The tracks have been synthesized for side B, exclusively by electronic instruments. At this point, the music becomes futuristic and brilliant. 180 gram vinyl.
LP version. Includes download code. DJ Koze introduces Sophia Kennedy - the self-titled, stunning debut album by 26 year old wonderwoman Sophia Kennedy. Elegant, melancholic, sometimes menacing, with smoldering piano melodies, desolately whistling organs, and a jaunty jaw's harp loop; kissed by the golden Californian sun, or shrouded in gloomy, dreary fog: Sophia Kennedy is currently the most versatile composer in German pop music - not to mention the greatest singer. Her self-titled debut album reveals her as a dramatic romanticist and distanced diseuse, as a deft lyricist and master of melody. In her eleven songs, she travels from doo-wop to dubstep, from classic crooning to breathless R'n'B, from Frank Sinatra to Beyoncé. Her talent for songwriting is deeply rooted in history, yet it seeks nothing but the present: both historically versed and timelessly beautiful at the same time. All tracks have been produced by Sophia Kennedy and Mense Reents (who is known as being a member of Die Vögel, Egoexpress, Die Goldenen Zitronen).
Girls In The Garage - Groovy Gallic Gals! - Volume 10
RSD 2017 release. Over a quarter of a century ago, these "Groovy Gallic Girls" came to global attention and subsequently inspired a new breed of affection and influence. The tremors of the 1960s French Ye-Ye explosion could be felt briefly, but have since disappeared back into obscurity. Now you have the chance to top up your glass and get drunk on vintage garage etiquette. Past and Present invites you into the exotic and sometimes, bizarre boudoir with 17 sonic blasts of freakbeat chic, featuring obscure artists from France, Quebec, Belgium, and Montreal. Features: Liz Brady, Myriam Martin, Les Intrigantes, Clothilde, Les Gamines, Sylvie-Anne, Anna Bell, Roxane Chatel, Ginette Taillon, Karo, Caroline, Annie Philippe, Ariane Et Les 10-20, Ariane, Christine Pilzer, Ginette Garcin, and Stella. Professionally re-mastered; Limited edition, 180 gram orange-colored vinyl in an edition of 2000; Hand-numbered sleeve; Includes insert with expansive liners and a wealth of rare, archival photos.
Penultimate Press present the debut recording from French outfit Pancrace. Music for pipe organ Stiehr-Mockers 1848, bird calls, baroque violin, tin whistle, boîtes à bourdons, landscape piano, motorized bow, Standuino Pi synth, microphones, hurgy toys, AM radio, church bells, uilleann pipes, and hulusi. Pancrace is an improvising quintet comprising French, British, and Austrian performers. The members include Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel, and Jan Vysocky. Pancrace is also the name of the church in Dangolsheim Alsace located next to where the instrument inventor Léo Maurel lives. Maurel makes ingeniously designed instruments inspired by the hurdy gurdy. The recording emerged from a disruption of the traditional elements within the church, namely the church organ which was prepared inside out whilst the performers challenged its gregarious authority with an array of constructed and modified instruments. On Pancrace, one can hear many of these shape-shifting instruments and devices being twiddled without quite knowing which are bowed, plucked, hammered, or rubbed. The results are a maelstrom of sound and song which see-saw between the harrowing and the sublime with incredible detail to sonic content. Pancrace instigates proceedings in the confinement of an organ; a cyclops puffing its continuous and raucous breath only to be woken by instruments who, like horseflies, mischievously start tormenting proceedings with microtones and striated polyrhythms. The journey ends four sides later with the language of the birds imposing an unadorned silence on the church. Edition of 500.
An assembly of choral traces and transmissions, these four new tracks are Croatian Amor's clearest move towards pop. At the same time, this is perhaps the weirdest record yet from Croatian Amor, introducing a complexity previously not seen. From the cut-up, granulated rhythm section and auto-tuned choir of the opener "Sky Walkers", to the duetting ballad of "Finding People" -- featuring additional vocals from new name Khalil -- the record never rests for long. The exploration is soothing, its search a tonic to the swarm of emotion it provokes.
Analogue Acid Project 3
Todd Osborn and Tadd Mullinix return for part three of their Analogue Acid Project.
The Lost Studio Recordings 1977-1978
LP version. Red vinyl; Edition of 300. 2017 is going to see many bands celebrating the 40th anniversary of their 1977 debut records. There won't be nearly so many from 1977 making their debut 40 years later in 2017. Here is one of those cases: TV Eye. Five 17-18 year olds - Andy Wickett, Dave Kusworth, Eamon Duffy, Paul Adams and Dave Twist - who channeled "Stooge-punk classicism, via brute-naivety and a great pair of leather trousers into... something else." These are the lost studio recordings and no-fi relics of Birmingham's first garage-punk band, TV Eye. 1977-1978 comprises five studio tracks and six tracks from a raw rehearsal session (preserved by Stephen Duffy). Includes a four-page photo insert and essay.
Yellow Man With Heart With Wings CD
Three Works For Live Electronics CD
Birds Flying High - Part Two 12"
Bringing It All Back Home Again 12"
Pol Pot's Pleasure Penthouse 2LP
Single Collection 1972-1980 2LP
Calypso Rose Meets Mo Laudi 10"
Through The Fog/Peter Hitchens 12"
Dandelion Sauce Of The Ancients LP
Like Nashville In Naija: Nigeria's Romance With Country Music, Yesterday And Today 2LP
Bad Things Happen When It's Quiet 7"
Valerie And Her Week Of Wonders 7"
Issue Four: Winter 2017 MAG
The Great Adventures Of Slick Rick / Children's Story CD w/7"
El Barbaro Del Ritmo: Mexico & Cuba Recordings 1947-1962 2LP
Local Dogs (Blue Vinyl) LP
These Moments Dismantled 12"
Nothing Lasts Forever (And It's Fine) CD
Nothing Lasts Forever (And It's Fine) LP
Alessandro Cortini & Masami Akita 2LP
Patterns Of Consciousness 2LP
Wild One/Courageous Cat 7"
Somebody Lonely And Me (Remixes) 12"
Allen Ginsberg Reads Howl and Other Poems LP
Berlin/Offenbach 2008-2016 2LP
Girls In The Garage - Oriental Special - Volume 9 LP
Girls In The Garage - Groovy Gallic Gals! - Volume 10 LP
Golem (Silver and Black Vinyl) LP
Analogue Acid Project 3 12"
The Lost Studio Recordings 1977-1978 LP
La Musica Di Puccio Roelens LP
Contaminazioni No Wave Italiane (1980-1985) LP+CD
Guitars of the Golden Triangle: Folk and Pop Music from Myanmar (Burma) Vol 2 2LP
Terremoto Richter 6:25 - Managua LP