LP version. Japanese legend, Keiji Haino, meets two of Belgium's most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians. One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim O'Rourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show. Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics.
The Sound of Durban Vol. 1 (Pantone Cover)
The Sound of Durban Vol. 1 represents the first full-length compilation collecting the sound of the suburbs and townships of Durban, South Africa known as "gqom". The album unites many of the local young producers of this fresh genre over 15 tracks on a double LP. Rome-based DJ and musician Nan Kolè and South Africa-based Lerato Phiri set up the Gqom Oh! label to highlight the music and artists of Durban, the often-overlooked cradle of the new South African sound. Taking its name from an onomatopoeic Zulu word signifying a drum, this extraordinary, apocalyptic bass music encompasses many influences. Each polyrhythmic track draws on the darker side of electronic music, hip hop, sound system culture, kwaito, UK funk, and deep African vibrations. With its mix of ethnic tradition and urban tension, South Africa has been a cradle of cultural phenomena. In its own way it is a country of great wealth, particularly rich in contradictions, yet decades after the end of the country's apartheid, little appears to have changed for the millions of black people who live in its notorious townships. It is from this background that innovation is continually being injected into the living body of the local music culture. The heartbeat of Durban is gqom. Features tracks by: Dominowe, Forgotten Souls, Formation Boyz, DJ Mabheko, Emo Kid & DJ Bradolz, Citizen Boy, Cruel Boyz, TLC Fam, Julz Da DeeJay, and Emo Kid. Limited repress with a new pantone cover; Two additional tracks on the download card.
Overdrive present the first vinyl release of the 1974 soundtrack by Alessandro Alessandroni for the Giuliano Carmineo (as Anthony Ascott) directed Di Tresette Ce N'è Uno, Tutti Gli Altri Son Nessuno, known in English as The Crazy Bunch. The sequel to Lo Chiamavano Tresette... Giocava Sempre Col Morto (Man Called Invincible) released in 1973, the film is a goofy, slapstick comedy spaghetti-western, but the maestro's soundtrack is anything but goofy. Haunting, sparse, and riveting, the soundtrack is easily the best thing about this film. Presented on color vinyl.
"After spending the early '60s playing in groups with Cecil Taylor and Archie Shepp, trumpeter Bill Dixon recorded his singular and visionary masterpiece in 1967. Intents And Purposes remains not only Dixon's defining statement as a composer, but also one of the most luminous moments in the history of avant-garde jazz. Combining orchestral timbres with free jazz intensity, Dixon leads a ten-piece ensemble including such heavyweights as Byard Lancaster, Robin Kenyatta, Jimmy Garrison and Reggie Workman. Closing each side of the album, 'Nightfall Pieces I' and 'Nightfall Pieces II' are evocative duets featuring Dixon's flugelhorn accompanied by flautist George Marge. With Intents And Purposes, Dixon creates a work focused as much on sculpting and defining space -- emphasizing moments of resonant stillness around which the compositions thrum and swell -- as on purity of expression. This first-time vinyl reissue is recommended for fans of Art Ensemble of Chicago, Anthony Braxton and Henry Cow. 'One of the richest and most compelling LPs to taunt and tempt listeners into a life of freakdom.' --John Corbett."
Amer (Colona Sonora Originale Del Film)
We Release Whatever The Fuck We Want Records presents the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani's critically-acclaimed Belgian-French giallo Amer (2009). Filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation. Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past. Amer includes three songs by the great Stelvio Cipriani, well known for the marvelous soundtrack of poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino's Death Proof (2007), as well as music for countless cult spaghetti western and giallo movies. He received a Nastro d'Argento award for best score for The Anonymous Venetian (1970). The legend himself, Ennio Morricone also shows up on the soundtrack with a sexy and melancholic jazz number, while his longtime collaborator Bruno Nicolai delivers the hypnotic strings that carry the eerie and erotic mood of the film. Last but not least, the beautiful voice of beloved singer Adriano Celentano cements what is a must-have album for '60s and '70s Italian soundtrack fanatics. Limited edition of 500 comes on an arousing pitch black 10" vinyl, housed in heavy cardboard Old-style Stoughton tip-on jacket.
Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982)
"When most people think about Nigerian music, the first thing that comes to mind is Lagos -- the country's main commercial center, the glittering mega-city that spawned Yoruba-speaking music luminaries such as Fela Kuti, King Sunny Ade, Sir Shina Peters and Wizkid. But Nigeria is a country of rich diversity, especially in its music: From the Igbo highlife and rock bands of east-central region, to the deep Edo roots rhythms from the mid-west, to the keening, ornamented Fulani melodies of the north. But one region whose music has remained largely under-explored is the south eastern land of the Efik and Ibibio ethnic groups in Cross River and Akwa Ibom State -- the region colloquially referred to as 'Calabar.' A cradle of culture, this region was one of the earliest outposts of Nigerian popular music. Its primordial rhythms traveled across the Atlantic during the slave trade to provide the part of the foundation for Afro-Cuban grooves that would go on to influence the development of jazz, rock & roll, R&B and funk. With the new Calabar-Itu Road compilation, Comb & Razor Sound presents 15 heavy tracks recorded in the decade between 1972 and 1982, spotlighting rare music from 'Calabar' superstars such as Etubom Rex Williams, Cross River Nationale, Charles 'Effi' Duke, The Doves and Mary Afi Usuah. The package features a magazine-style booklet containing a wealth of information about the milieu with rare photographs and illustrations. The Calabar-Itu Road is the major artery linking modern-day Cross River and Akwa Ibom States. And Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982) will link the region's music to the rest of the world!"
Antologia De Musica Atipica Portuguesa Vol. 1: O Trabalho
Antologia De Música Atípica Portuguesa ("Anthology of Atypical Portuguese Music") is a series focusing on new strains of Portuguese music with an (un-)characteristic foot in past musical traditions of the country; The aim being to re-evaluate its musical history, deconstruct clichés and re-assemble preconceptions into a new and daring musical landscape. Each volume will have a loose theme and will be comprised of Portuguese artists working on the fringes and not following obvious and commercial paths of musical homogenization. Vol. 1 explores o Trabalho ("work") - various work songs both at land and sea are freely reinterpreted in a multitude of ways. Including the vocal tape deconstructions of Live Low, the ethereal pastoral drifts of Negra Branca (Marlene Ribeiro from Gnod), free jazz experimentations of EITR (Pedro Lopes and Pedro Sousa), as well as a very rare solo outing by one half of Yong Yong, Luar Domatrix (Rodolfo Brito). Also featuring on Vol. 1 are the digital voice manipulations of Tiago Morais Morgado, visceral guitar exorcisms by Filipe Felizardo, exoteric chants by Gonzo, Calhau!'s mystic reinterpretations of lost pieces, and an exclusive composition by musician and instrument builder Peter Forest (Pedro Silva) dedicated to a long lost field working man's song, Maria Cavaca. RIYL: Sublime Frequencies, Folkways.
Editions Mego present the latest opus from legendary British composer, actor, sound designer and all-round fine human, Simon Fisher Turner. Giraffe is a new major work which blurs the lines between sound design and song, machine severity and narrative sentimentality. Subtitled "Living In Sounds And Music", Giraffe takes the listener through a vast journey where an abstract clacking of unknown origin rubs up against a melancholic electronic sequence. "Life sounds" were captured with a portable hard disc recorder and iPhone and appear alongside contemporary sound design. Emma Smith provides the narrative on "Slight Smile" whilst electronic machines grind amongst background industrial clang in "Mud Larks". "Save As" revolves around a beautiful simple piano motif which soon folds into an unnerving field recording and drone combination. Giraffe is a document of interior and exterior duality, a living space where machines and the surrounding world collide, a sonic landscape where musical and nonmusical elements are placed on an level hierarchy. The alchemy of these constituent parts results in the magic of Giraffe, one where the symbiotic sequence of events highlights a unique approach to sound as rapturous matter in whatever form it takes. "Colour Fullness" features Elysian Quartet and Sawada. Elysian Quartet are Emma Smith, Vince Sipprell, Jenny Logan and Laura Moody. Vocals by Misako Yabuuchi and Emma Smith. Recordings made from 2008 to 2016. Mastered and cut at Dubplates & Mastering; Engineered by Rashad Becker.
Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a sound autobiography that exhibits the skill, feeling, and depth of style that the artist has honed over a period of twenty years - musically - and forty-plus-years - emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks that, release-wise, will stretch over 12 respective chapters, or albums, during a one-year period by the record label, Hippie Dance. For The Golden Ravedays, Superpitcher employed everything and everybody he is moved by in service of creating a consistently melancholy, gentle, but also complex, strong and fiery mood. By allowing the sound to take its own free course, Superpitcher discovered a new macro-cosmos of noise that he captured in longer than usual tracks that, respectively, not only tell a story, but act as a memoir. Paging through this body of sound, one discovers a place that is haunting, adventurous, playful, velvety, and sometimes essentially surreal. It is similar in experience to diving into an unknown river, serenely floating by visions that consist of a jazzy quality, hitting white waters that drum forth memories and primal poetry all the way from Africa to forests long forgotten, to cascading down waterfalls of unexpected protest, menace and resistance. The sound of the first two tracks that kick off The Golden Ravedays saga is a good testament of the alchemy that is contained in the coming chapters. Like the metaphysical theory that every moment that exists only exists by virtue of all the moments that existed before its turn, "Little Raver" is a sweetly innocent but also heartbreakingly raw introduction to the lucky-packet of wit, depth, melancholy, confusion and cliffhanger surprises of the subsequent albums in The Golden Ravedays horoscope. On the B side, "Snow Blind" brings forth the clarity of sincere determination in an open sound expanse where clusters of melodies sometimes hide, sometimes shoot off and mercilessly stay out of reach and becomes unmaskable - a game that is often cleverly played by Superpitcher in the remaining phases of The Golden Ravedays album. LP includes download code.
Double LP version. Embers, the new album from Ross Tones, aka Throwing Snow, is a conceptually imaginative and musically atmospheric recording that draws stimulus from laws and patterns of the natural world. Excelling creatively from the freedom and restrictions of applying aspects of these elements, Embers emerges vividly from the processes employed in its creation. Recorded in Daddry Shield, County Durham, sounds captured in the surrounding area became part of the music. Rain is transformed into white noise, at one point a melody line is mimicked by a starling - all of which is the result of endless processes and cycles. The techniques used in creating Embers allegorically mirror these processes. Reproducing the way materials are reused in the natural world, tracks are born, live and then die only to be reborn into a new form. All the tracks have similar counterparts whether in structure, dynamics or melodies. Arpeggios self-evolve and are interconnected, randomness is introduced utilizing two similar pairs of synthesizers so that their cycles are ever changing and naturally evolving. Mastered by Matt Colton at Alchemy.
Los Angeles musician Jaws presents his third full-length album, Object Dom. The tracks on Object Dom are a sort of broken rave song, littered with open seams and loose-ends tangled amongst themselves in DIY fashion. Within that framework, it seems to intentionally mix-up positive and negative feelings through its instrumentation: familiar synth pulls and screeches characteristic of unbridled delight on the dancefloor are coated in a certain kind of messy rumble evocative of the feeling of wanting to throw up. Robert Girardin, aka Jaws, said this of the release: "The song takes tropes of Dutch rave, breakbeats, and hoover patches, squeezing them into a maximal pop-songs format of call and response, attempting to sonically recreate the dopamine rush of online notifications."
Khemia Records present the fourth and final edition in their current series - the Winter Solstice Edition featuring Codex Empire and Marmo. On the Solar Side, British born, Vienna based, industrial techno pioneer Codex Empire delivers "Sevde", an experiment in long-form techno. A massive, propulsive beast, punctured with hammered rhythms and sub-aquatic bleeps, a maelstrom of whiplash cracks, disembodied voices and electrostatic, reverberating across an insistent techno groove. On the Lunar Side Marmo present "Alchimia" a conceptual, straight-forward, complex music sculpture. "Alchimia" unfolds an epic sonic journey across vast swathes of desert. Transparent vinyl; Edition of 333.
LP version. 180 gram vinyl. Includes download code. Following their much-acclaimed surprise, self-titled debut album Vermont (KOMP 114CD/KOM 293LP) from 2014, Motor City Drum Ensemble's Danilo Plessow and Innervisions's Marcus Worgull reunite for more synth daydreaming on the suitably titled II. The new outing continues where the first full-length left off, strolling further down the luminous and undulating path that the duo turned into, influenced in equal measures by kosmische, krautrock, minimal wave and synth soundtracks. This latest batch of instrumental cuts opens with the strictly Balearic vibe of "Norderney", a softly swinging, light-footed recording with a keen sense for structure. Featuring a guest performance from Robbert Van Der Bildt (aka Kaap) on guitar, it's a telling starting point for the album that - similar to Vermont's self-titled debut - successfully navigates between economic, careful studio arrangements and playful, incidental exploration further pushing into jam session territory. Van Der Bildt's guitar returns on the plucky, curious "Ufer", where Vermont showcase a renewed sense for jazz-like improvisation - same as on the cuts "Dschuna", "Chanang" and "Wenik", which also include contributions from Dermot O'Mahony and Tadhg Murphy on strings. Still, Vermont's synth contraptions remain the album's main attraction, with the extensive array of gear encompassing an entire panopticon of analog bling - from Arp Oddysey and Moog Prodigy to Fender Rhodes, Juno and Prophet - list-studying gear heads will find lots to drool upon. Consequently, tracks like "Chemtrails", "Unruh" or "Gebirge" err on the machine side of things, expertly interweaving arpeggiated sequences for maximum atmospheric effect. Foreboding, slightly menacing synth motives as on "Skorbut" or "Chemtrails" are perfectly balanced with the casual ambient of "Hallo Von Der Anderen Seite" and the nostalgic warmth of "Demut" - while the gentle push of the masterful "Ki-Bou" even carries a whiff of classic deep house, linking the Vermont project to Plessow and Worgull's main careers as dancefloor movers and shakers. Continually intriguing, immersive and texturally rich, each one of Vermont's new pieces betray the experience, precision and determination of the producers involved - while opening up Worgull and Plessow's vocabulary for patient experimentation and subtle discoveries. A musical treat for synth aficionados - and everyone else.
"Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman's elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto."
LP version. Housed in a gatefold, Stoughton tip-on jacket. "13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood's greatest lines ever 'One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.' By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks. In what became the final days of LHI, staff producer Larry Marks's sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed... 13 was born. Includes a Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter; Includes previously unreleased session outtake of 'Cold Hard Times' plus never before heard Hazlewood compositions 'Drums' and 'Susie'; Download card for complete 13 sessions including Larry Marks unreleased album, session outtakes and acoustic demos, 29 tracks total. Liner notes by Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman and Suzi Jane Hokom."
Local Action presents Grotto, the long-awaited second album by Lil Jabba. Jabba made his name producing hypnotic juke and footwork records back when he was based in Baltimore, quickly catching the attention of footwork figureheads like the late DJ Rashad. His early music was self-released or issued via small-run cassettes, but built Jabba a cult following online. In 2013, Local Action released Scales, a critically-acclaimed collection of Jabba's key material to date, described by Dummy as one of the year's "most singular albums." Grotto is the encapsulation of his story so far; It's a genre-less record that draws from dub, Southern hip-hop, jungle and more without ever conforming to stereotypes, driven by the moonlit melodies and dynamic shifts that have always been present in his work. This is one of electronic music's most individual voices in its most realized form yet.
MIE unveils, after long gestation, Panisperna, the first long player by Jantar, an outer-borough ensemble historically known for their creeping strain of easy-listening, most often heard in empty lots and abandoned diners. Chad Laird and Tianna Kennedy have grown an experimental cover crop since 2009, gently cultivating a soil rich in ambient leaf rot and organic art-world chemical compounds. With the addition of Kirsten Nordine, Jantar began to run it through with speculative roots and melodic worms, digesting the tails of lost Euro soundtracks, and ultimately finding in drummer Kelly Rudman the crystalline lattice necessary for vertical growth... And yes, now this broad field is very much in rotation. Panisperna shoots riffs, stalks and flowers right up out of the ground. From the waves still reverberating from Canterbury's Gong and Soft Machine, Jantar propels green, driving rock forms, and leafs out into repeating rows of complex time and growth patterns. For this first foray into rock music, Jantar has enlisted the assistance of Pigeons Clark Griffin and Wednesday Knudsen, who contribute synth and sax, respectively. Long-time ally and champion Jason Meagher (No-Neck Blues Band, Steve Gunn) recorded this music at the venerable Black Dirt Studios.
Mondo Groove present a reissue of Louis' Band's Taste Me, originally released in 1981. Taste Me is an obscure, instrumental library music album and a weird example of Italo funk disco, played by professional musicians (most of them under pseudonym) involved in many different musical projects (ranging in genre from jazz, progressive rock and disco music). The album includes the killer disco funk song "Don't Stop It". Music by Piergiovanni; Arranged by Louis Vanni. Pressed in a limited edition, with original artwork for the first time since 1981.
"Rock music and revolution in '70s Zimbabwe. Just as the hippie era came to an end in America, a second '60s was beginning. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music 'heavy,' because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, 'Watch Out,' was the anthem of the counterculture. This is the first time their music has been issued outside of Zimbabwe. Matthew Shechmeister tells the story of Wells Fargo drawing on interviews with the band's remaining members and numerous trips to Zimbabwe to investigate the genesis of the heavy rock scene under Ian Smith's oppressive government, and its dissipation after Zimbabwe's liberation. CD comes packaged in a 72 page hardcover book detailing the the history of Zimbabwe's heavy rock scene and the trajectory of Wells Fargo. Never before seen photographs and ephemera color a story so hard to believe that it has to be true. The book is printed on acid-free paper."
Berghain residents Ben Klock and Marcel Dettmann link back to Ostgut Ton's label launch in 2006 with their first studio collaboration in ten years with the extended Phantom Studies. With Phantom Studies, Dettmann and Klock channel their first joined releases Dawning (OSTGUT 001EP, 2006) and Scenario (OSTGUT 011EP, 2007) from over a decade ago with their first co-production in ten years. On this extended, 40-minute 2x12" EP, Marcel Dettmann and Ben Klock parlay their deep personal alliance and musical repertoire through emphasis on new functional techno as much as hypnotic, melodic, and soulful music by thinking outside the box. The seven new, original tracks reflect these attributions by communicating to the needs and expectations of both DJs and home audio listeners, but not neglecting one over the other. The opening track "Phantom Studies" perfectly combines this spirit with one leg on the floor and one on the couch: the brittle beginning is soon outpaced by a subtle kick, meandering, mesmerizing harmonies, hi-hats and clave sounds as well as bells that join the ranks of techno music's vast past. Very much a musical piece - evocative and powerful. This aesthetic is present throughout this record, interconnecting home with club settings: "The Room" is likely the darkest piece, decelerated, drone-heavy, menacing and pitch black with Marcel Dettmann on vocals; "Prophet Man" is a laid-back, pulsing dub-techno piece with plenty of synth pads left and right, nestling a spoken-word sermon by Ben Klock - but not as dead serious as you may think, hence the giggles; "The World Tonight" puts shimmering, frisky synth melodies into the focus while the kick adds some muscularity and ecstasy. Of course there's something for club use: "No One Around" is a prototypic tool, relentlessly pounding at 134 bpm with an uncompromising sudden start/end; Clocking in at 124 bpm, "Bad Boy" lives up to its name through multifaceted hi-hat patterns and swirling synth progressions; "The Tenant" closes out this release with distorted, bending, brazen acid textures, noisy, dazing vocal samples atop a steady kick drum, completed by a fitting valediction: "Good night!". Phantom Studies underlines Dettmann and Klock's mutual musical vision - be it in regards of their twelve-year residency at Berghain or challenging dancefloors around the globe.
"The Land Of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land Of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow."
E Je Ka Jo (Let's Dance)
LP version. PMG present a reissue of Xtasy's E Je Ka Jo (Let's Dance), originally released in 1984. "Recorded in the USA, E Je Ka Jo is the only record released by Nigerian brother and sister act, Xtasy. It is also a stone cold, boogie classic and remains one of the most sought-after records of its type in the world. E Je Ka Jo means 'Let's Dance' and in 1983, Roy and Stella Bruce were whisked away to LA to record their certifiable dancefloor classic. Their brother, entertainment mogul Ben Murray Bruce, owned the label and called in favors with the America's finest session players, including songwriter Greg Wright and bass player Keni Burke. Wright produced the album and wrote all the songs. He'd worked with Diana Ross, Thelma Houston and Bobby Womack and added a slick international sheen to each track. The sound is smooth, sophisticated and sexy and one that would be welcomed on dance floors anywhere in the world. Strangely, E Je Ka Jo was only ever released in Nigeria. An international release was stymied, but that only served to cement the albums status as a modern soul boogie classic. Thirty years later, that injustice has finally been rectified." --Peter Moore
LP version. PMG present a reissue of Pat Thomas & Ebo Taylor's Sweeter Than Honey, Calypso "Mahuno" And High Lifes Celebration, originally released in 1980. "Pat Thomas and Ebo Taylor are the Jagger and Richards of Nigerian highlife. Drawn together by a mutual love of the genre - and an equally intense desire to stop it becoming moribund and bereft of ideas - Ghana's two most progressive musicians added a western twist to this traditional form of African music and gave it relevance again. It was by no means a continuous process. Pat Thomas and Ebo Taylor first came together in 1966. Over the decades they'd venture off to play in different bands and even different countries. Periodically they'd get back together and implement the new ideas and skills they'd developed. In 1980, they met up in London and recorded Sweeter Than Honey, Calypso Mahuno. Composed and arranged by Taylor, burnished by Pat Thomas's honeyed vocals, the album is a mix of highlife, calypso, funk, jazz, soul and pop. From the title track to 'Ma Huno', the album's undisputed highlight, the ambition - and musicianship - is breathtaking. Sweeter Than Honey, Calypso Mahuno is arguably the purest example of this extraordinary musical partnership. And what highlife, unshackled, can be." --Peter Moore.
With a handful of tapes on Posh Isolation, as well as the album Perception on Alter (ALT 013LP, 2012), Kristian Emdal and Simon Formann (aka Age Coin) have developed a project whose momentum and reputation has steadily escalated, finding common ground between electro-acoustic methods and quantized club nights. Both Emdal and Formann are best known as members of Lower. Emdal has lately pivoted his time around Marching Church, a band comprised of some of Copenhagen's finest, whilst Formann has been working under the guise of Yen Towers, releasing his debut 12" on Posh Isolation in early 2016 (PI 175EP). "Trespassing on intimate territory," says Emdal of their new recording, "[Performance] cuts a transparent path for everyone to come walking. The album is ultimately a joint effort to process past as well as present experiences within father son relations. In order to make things tangible, scenes are drawn from memory and merged in a shared fictional collage." Performance thrillingly presents Emdal and Formann in a new cryptically lush aspect. There is a sense that one is watching a slide show - familiarity motions like the tide in the form of acoustic instrumentation, and porous synthesized terrains are crossed with a feeling, not a map, nor a memory. As one watches, the creeping ambience comes to be less an invasive sensation and more of a gravitational pull through time itself. It's as effortless as it is disorientating, like being stalked by a relic. Propellants ascend in to the foreground from all directions. Rhythmic NO2 afterglow comes in waves in reverse. Weightlessness is induced; and rebound. Emdal continues, "Take in the view or let yourself be part of the language. Let the engine run and dip in to the swampy collective intelligence. Performance is a hybrid memorial for all domestic actions committed in the name of love."
"Jack Orion, Bert Jansch's third album, may have surprised some fans upon its 1966 release, as it features no original compositions by Jansch. While nearly all of the eight tracks (four of which include guitarist John Renbourn) are interpretations of traditional folk songs, Jansch's experimental approach breathes new life into this repertoire through his exploratory use of open tunings and passionate, gritty vocals. According to Melody Maker, 'his interpretations illuminate the songs from a completely new angle. As sung by him, with brilliant accompaniments, the brutal world that created the old ballads doesn't seem so very far off.' The ten-minute title song foreshadows the future through the past: with his sublime retelling of this dark tale of desire and revenge, Jansch embarks on a musical trajectory he would further develop with his group Pentangle. In 'Black Water Slide,' a haunting ballad he first heard from Anne Briggs, Jansch plants the seeds for future versions by Led Zeppelin and Sandy Denny. Jack Orion's unique combination of medieval themes and progressive arrangements would pave the way for the next wave of the British folk revival and beyond. This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger."
Coptic Cat present a reissue of Current 93's BaalStorm, Sing Omega, originally released in 2010. Spinning in the Baalstorm as Current 93 were and weren't: Eliot Bates, James Blackshaw, John Contreras, Baby Dee, Andrew Liles, Melon Liles, Alex Neilson, Bea Taylor, Isabel Taylor, and David Tibet. Includes a four-page 12" booklet with photos of the band and lyrics; Color sleeve with artwork by David Tibet; Edition of 500.
LP version. PMG present a reissue of Kelenkye Band's Moving World, originally released in 1974. "In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood Of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-school highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the holy grail of '70s Ghanian groove." --Peter Moore
Selected unreleased works by André Stordeur, a key composer of Belgian electronic music, recorded from 1980 to 2000. Perfect complement to Analog and Digital Electronic Music 1978-80 (2015). Released as part of Sub Rosa's Early Electronic series. Belgian electronic music composer André Stordeur, born in 1941, started his musical career started in 1973 with a tape composition for the soundtrack to a film on Gordon Matta-Clark titled Office Baroque (1977). Later in the 1970s, he participated in the avant-garde music ensemble Studio Voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris De Laet. Since 1980, Stordeur has composed exclusively on a Serge synthesizer, either a Serge series 79 and a Serge prototype 1980, which was especially built for him by Serge Tcherepnin himself. In 1981, Stordeur composed the music of Belgian documentary Du Zaïre Au Congo (1981) by director Christian Mesnil. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control (2010), a guide to everything modular.
Bang! Records present a reissue of Lydia Lunch's masterpiece, Honeymoon In Red, originally recorded in 1982 and released in 1987. Lydia Lunch, the worldwide recognized artist from New York, recorded this album with The Birthday Party as well as other friends and mixed it at legendary B.C. Studio in Brooklyn. This album features: Lydia Lunch on vocals, Rowland S. Howard (The Birthday Party, These Immortal Souls) on vocals, guitar, Nick Cave (The Birthday Party, Nick Cave And The Bad Seeds) on vocals, Tracy Pew (The Birthday Party) on bass, Mick Harvey on drums, Genevieve McGuckin (These Immortal Souls) on piano, Thurston Moore (Sonic Youth) on guitar, Barry Adamson (Nick Cave And The Bad Seeds, Magazine) on double bass. This LP has been remastered for higher sound quality and comes in a deluxe gatefold sleeve. Includes a cover of Lee Hazlewood & Nancy Sinatra's "Some Velvet Morning", which was not included in the original release.
LP version. Comes in a die cut sleeve. Playing their first gig supporting Goat at what was only the latter's second ever show, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal's Reverence with their feral attack. Yet the time has come for this band to transcend the realm of word-of-mouth phenomenon and be judged on their feverish and demented collision of psych-drone dementia and riff-driven salvation alone. The inarguable proof is Feed The Rats, the overwhelming first album the band have created - equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation. This three-track, forty-minute monument of chaotic catharsis captures the everything-on-eleven spirit of the band's live manifestation whilst adding a level of finesse and texture often less easily accessible in a dangerous haze of flying hair, discarded clothes and spilt premium lager. Channeling the grimy trip hazards of Monster Magnet's Spine Of God (1991) through a prism of kraut-derived repetition and Part Chimp style bloody-mindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point. Yet for Matthew Baty, the porcine realm is less about a nihilistic quest for fiery oblivion than one might imagine: "You know, I think we've experienced it, many times. It's those gigs where we can almost sense that everyone in the room is engaged. The energy created is so thick you can almost bite down on it and it feels like there's no longer any barrier between band and audience. Those are the special shows, where there's a solidarity and a very visceral bond. That, and being able to smell our amps melting." Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance.
Groove Is In The Heart is the first of three singles from the forthcoming Brian Jonestown Massacre album, Don't Get Lost. Both tracks ("Groove Is In The Heart" and "Throbbing Gristle") feature heavy hypnotic beating drums and smoky vocals by Tess Parks. these tracks give an idea of the changing rhythms of the Brian Jonestown Massacre for the new album. In 2016, the band released two singles and the critically acclaimed Third World Pyramid (AUK 036CD/LP). The band have been touring the world since November 2015, playing Australia and New Zealand, and in 2016, USA, Canada, Europe, Chile and Argentina.
Analog Africa present a reissue of Shadow's (aka Winston Bailey) Sweet Sweet Dreams, originally released in 1984. The far-out album by Trinidad and Tobago's Shadow was panned by critics and unable to reach markets, disappearing into the dusty record collections of a few music aficionados. A truly enigmatic artist, Shadow first emerged in Trinidad and Tobago during the 1970s and became a part of the tapestry of Caribbean music, reinvigorating calypso. Calypso, the indigenous folk music of Trinidad and Tobago, led to several other music genres, including soca, which has up-tempo beats and is played in a festival context. Shadow effortlessly moves between both calypso and soca. Coming from a humble but musical family, Shadow started writing songs at a young age while tending cattle in the fields. To his family's initial chagrin, he eventually chose calypso over church music. In the early days of his career, Shadow's style was cramped due to conservative music arrangers who felt that calypso and soca should fit into a mold. But after a while, Shadow teamed up with more innovative arrangers, including Arthur DeCoteau. Shadow's inert creativeness culminated in Sweet Sweet Dreams, which deals with burning and ever-relevant themes like love and the ups-and-downs of relationships - a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of "tabanca" (a word used in Trinidad and Tobago to describe lovesickness). Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain). Sweet Sweet Dreams delivers a fantastic sound with monster soca-boogie tunes, fusing a range of rhythms and new sounds, primarily heavy synth riffs. What Shadow didn't realize was that the proto-electronic cocktail he mixed in 1984 would find the recognition it deserved three decades later. Sweet Sweet Dreams has come true and been elevated to holy-grail status, becoming one of the most sought-after Caribbean disco records in existence. For this reissue, Analog Africa carried out extensive interviews with Shadow and the musicians. It includes liners notes featuring exclusive photos from Shadow's personal collection and the dancefloor filler tune "D'Hardest" as a bonus track. Remastered and cut by Frank Meritt at The Carvery.
"Ace four-tracker. 'Caves' was created in the aftermath of a devastating set by DJ Stingray, and sounds like it: storming but funky, infused with the spirit of classic Detroit techno. 'Spacetown' marries Arpanet and John Carpenter, with a saturnine melody which sticks in the mind. Flip it for a deadly 'Caves' remix by man-of-the-year Convextion, inimitably sci-fi but banging; and the elemental, ambient accomplishment of 'The Strips,' consolidating the promise on show throughout."
Triple LP version. Biosphere is the main recording name of Geir Jenssen - a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his works on ambient techno and arctic-themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata (TO 050CD/BIO 005LP) was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album. Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This reissue comes with six bonus tracks and new artwork.
Jon Savage in Mojo (UK): "Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity (BIO 003CD/LP) - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s best albums, culminating with last year's near beat-less Substrata. The idea - as it always was thanks to Eno's On Land (1982) - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of 'Black Lamb & Grey Falcon'. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record!."
LP version. Includes CD. Richard Pinhas, leader of French space-rock pioneers Heldon in the '70s, has been prolific since returning to the form in the '90s. He has collaborate with Merzbow, Yoshida Tatsuya, Oren Ambarchi, Barry Cleveland, and Wolf Eyes. "Changes in my life really influenced this record," Richard Pinhas tells of his new album Reverse. "The wife of a friend of mine offered to read my Tarot cards... I don't believe in it - I am very materialist, not financially but in my philosophy - so it was very strange that in the year that followed I lost my two parents, broke up with my girlfriend, lost my flat, and moved to Nantes. So the album was done in this confusion, in this chaotic state of having lost all these things." Reverse's dark experimental noise and long repetitive tracks have an intimidating first impression. But listening to the whole 50 minutes leaves one feeling purified. Pinhas even says this album "fixed" and "resurrected" him: "It was a healing process for me to make this album. To get rid of all the negativity that occupied my brain." The main process of the album production was one of construction, with Pinhas and Oren Ambarchi (guitars, "dronz") forming the skeleton. After the initial sessions in Paris, they threw out everything except their own parts and then started searching for "the right parts. Not a drummer, but the drummer, not a bass guitarist, but the bass guitarist." He enlisted the talents of Arthur Narcy (drums), Florian Tatar (bass) along with Masami Akita (analog synths), his son Duncan Nilson-Pinhas (digital synths), and William Winant (percussion). Reverse reflects Pinhas's keen interest in Kabbalah. "Ketter" is an unknowable realm and the music reflects this. We catch traces of elements traversing the spectrum while the whole retains its own mystery. Pinhas's immediately recognizable tone is tempered by Narcy's unique drumming style. "End" reflects the "reverse" of the album title, as sounds double back in on themselves whilst Narcy, frantic on the cymbals, pounds the drums themselves with military precision. "Nefesh" is the first level of the soul, the track's percolating sounds depicting such a pneumatic birth. "V2" brings to mind both Thomas Pynchon's Gravity's Rainbow (1973) and David Bowie. It sounds like the aftermath of an enormous futuristic electrical malfunction still lingering over a vast cityscape. Cover art by Yann LeGendre.
I Want To Feel Your Love LP
Singing Of Liberation 12"
Music From The Insider II Cassette
Under The Eyes Of Augustus Cassette
--->Change Room Violations<--- Cassette
Will The Circle Be Unbroken? LP
The Phil Spector Christmas Album LP
Antologia De Musica Atipica Portuguesa Vol. 1: O Trabalho LP
The Sound of Durban Vol. 1 (Pantone Cover) 2LP
Winter Solstice Edition 12"
Di Tresette Ce N'e Uno, Tutti Gli Altri Son Nessuno LP
Honey's Dead (Gold Vinyl) LP
Vol. 3 - Aviation Grand Father CD
Vol. 3 - Aviation Grand Father LP
E Je Ka Jo (Let's Dance) LP
Sweeter Than Honey, Calypso "Mahuno" And High Lifes Celebration CD
Sweeter Than Honey, Calypso "Mahuno" And High Lifes Celebration LP
We Suck!: The Lost 1982 Album LP
Opposite Reaction Vol. 1 12"
Analog and Digital Electronic Music #2 1980-2000 LP
The Miracles Of Only One Thing LP
Amer (Colona Sonora Originale Del Film) 10"
De Expugnatione Elfmuth LP
De Expugnatione Elfmuth (Purple Vinyl) LP
Lost In Wonderland (Yellow Vinyl) LP
Iron Curtain Innocence LP
Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982) CD
Nicola Conte Presents Viagem 3: A Collection Of 60s Brazilian Bossa Nova And Jazz Samba CD
They Reminisce Over You (T.R.O.Y.) 7"
Adrian Younge Presents The Delfonics LP