LP version. Includes an eight-page insert and a download code. The random-access memory of an hourglass. On the one hand, there's Cheveu, the French three-member band, whose soundtrack has never ceased to question music codes by exceeding various genres and pushing back their limits. On the other hand, you have Group Doueh, a Sahrawi band from the Sahara desert (Dakhla). Their music spans across many styles and hammers tradition with unprecedented finds. In between both their remote musical universes dwells a sound clash. It embodies the meeting between two arts of living music day by day, two ways of transmitting, of enchanting the world or refusing to do so, of exploring the repertoire as well as tradition and creation, two visions of the collective - the list of reasons why these guys should have probably never met or could have failed to get along is quite extensive. This piece was recorded in two weeks in Dakhla in January 2016. The mere project seemed like a surreal challenge, something that was almost impossible to achieve and for which time was going to hold major importance. It brought about a telluric big bang, an atomic creation, a story of primitive energies setting the record straight in the whole world. That is, two radically different understandings of time.
The entire Transparent recordings released for the first time, completely remastered from the unedited tapes. Zos Kia was formed by John Gosling (Mekon), John Balance (Coil) and Min - with guest Peter 'Sleazy' Christopherson (Throbbing Gristle). Their one and only album, Transparent, was released on August 23rd, 1983 in a cassette only edition on the now defunct Austria label Nekrophile. They were the first released recordings of both Coil and Zos Kia. It was reissued years later by Coil (Threshold House/Eskaton). Includes two previously unreleased bonus tracks by Ake (pre-Zos Kia). The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; Scatology (1984). An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle. CD version comes in a six-panel digipak with a booklet containing unseen images.
Dance Tracksz is the body-checking return of Prostitutes, aka James A. Donadio, to Diagonal; a no pretenses rave set built minimal and raw for hard worked 'floors. The label's Cleveland, Ohio ambassador has cut out any sentimentality and gone straight for the rave jugular with no concession to ascetic consistency, knocking up one of his fiercest examples of brutalist funk in the process. It's Prostitutes' third and most substantial release for Diagonal, a swaggering and unzipped affirmation of the styles on 2013's Shatter And Lose and Ecstasy, Crashing Beats And Fantasy from 2015 (DIAG 015EP), and clearly catches the label's close ally in the mood for getting wasted. Prostitutes' Dance Tracksz are schooled with the sort of street knowledge and bluntness that perhaps comes from life as a techno-punk in a blue collar industrial city such as Cleveland, OH: the bullish, PCP-style hardcore bookends of "Ah Yeah" and "War Goes On" say their piece in no uncertain terms, whilst "Bottle Smashing" spits pure industrial street funk and "Prey" deals in riot-inciting jungle-techno. Even the album's sole moment of sentimentality, "I Luv U Bruv" - a gesture of affection for his label boss, Powell - is delivered with an acrid lash of electro-techno, but at least you know he means it. In a sound world spoilt for choice, Prostitutes' refusal of shiny tricks is admirable and almost subversive in the face of hands-in-the-air breakdowns, but there's something about the way he wrenches out every last drop of rusty, jacking funk from his machines that leaves no doubt about Dance Tracksz effect at close quarters. Artwork by Guy Featherstone. Mastered by Matt Colton. Edition of 500.
Drumming Live was recorded live in New York City at (Le) Poisson Rouge in 2013 at the Steve Reich Benefit Concert to support the Aldrich Museum. It features Steve Reich's Drumming performed by acclaimed Brooklyn based quartet, Sō Percussion, and includes a 3+ minute version of Clapping Music, performed by Steve Reich and Sō Percussion. Drumming was premiered in 1971 at the Museum of Modern Art. It was the first large-scale piece that Reich wrote and is considered one of the first minimalist masterpieces. 45 years on, it continues to be a fascinating piece of work that keeps listeners intrigued and impressed. Sō Percussion are: Eric Cha-Beach, Adam Sliwinski, Jason Treuting, Josh Quillen; featuring on Percussion: Yumi Tamashiro, Mika Godbole, Amy Garapic, Victor Caccese, and Peter Dodds; featuring on vocals: Elizabeth Myers and Daisy Press; featuring on piccolo: Jessica Schmitz. The artwork is by Sol LeWitt, "Five Geometric Figures in Five Colors (S-56)" (1986). Liner notes written by Grammy Award and Pulitzer Prize winning composer, David Lang. Lang from the liner notes: "Drumming asks for a kind of utopian community, in which a group of people come together without a conductor, building elegance and beauty out of the coordination of their intricate, intense, focused actions."
No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences while retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots. The result is an evolutionary, truly alchemical music -- great shifting tides of dub, minimalist composition, and choral song ("Five Demiurgic Options"); ritual spells to ward off the darkness ("Before the Dam Broke," "The Prophet Sequence"); radiophonia and zoned-out guitar improv ("Seven Virgins"); even the febrile, freeform psychedelia of '80s noise rock ("Sferic Ghost Transmits / Fear the Crown"). In the time since he collaborated with Shackleton on 2012's Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these transmissions he's hoarse preacher, sage scholar, and ravaged bluesman; blind man marching off to war; and exhausted time-traveler warning of impending socio-ecological catastrophe. Dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering -- its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."
Mike Cooper's Blue Guitar is a collection that first appeared on Cooper's Hipshot CDr label in 2010 in a limited edition. It is presented here on Idea Records, for the first time on vinyl. Upon its initial release Cooper wrote: "For the past couple of years I have been collating a body of text culled (mostly) from Thomas Pynchon's novels Gravity's Rainbow and V and making cut-up collage pieces in the spirit of William Burroughs, Kurt Schwitters, Tom Phillips and others. Those two particular novels interest me because they are set in the period that I was born, however no reference to that period is intended in my pieces. Hopefully a more contemporary comment was found lurking within the words, lines, pages and paragraphs. Recently my interest in playing the guitar in a more or less 'traditional' manner, but still incorporating various 'extended techniques' (as opposed to using it purely as a sound source) has been re-kindled along with a renewed interest in blues, Greek rembetika, flamenco, Portuguese fado and other traditional and improvised music around the Mediterranean which in turn brought out the singer in me again... I have lived in the Mediterranean region for 30 years and listened to its music and I wanted to make something that would hopefully have some of its spirit without making reference to any of it musically." "Things as they are / are changed upon the blue guitar" --Wallace Stevens, Man With The Blue Guitar (1937) "Sometimes when you cut into the present the future leaks out." --William Burroughs. Mastered by Rashad Becker. Cover design by Tom Recchion. Comes on 180 gram vinyl; Includes a lyrics insert; Includes a postcard insert; Linen Wrapped/Foil Stamped; Comes in an Old Style Tip-On jacket.
Ishq Ke Maare: Sufi Songs from Sindh and Punjab, Pakistan
A searing assemblage of Islamic Sufi spiritual music from the hinterlands of Sindh and Punjab, this compilation marks Sublime Frequencies' debut release of field recordings from Pakistan. Recorded and compiled by Arshia Fatima Haq, founder of Discostan - a collective of artists from an imagined federation of states from Beirut to Bangkok via Bombay - this is a rare, unfiltered collection of devotional music ranging from hypnotic solo instrumentals and vocal lamentations to euphoric ensemble qawwalis. Presenting voices that are imperiled in the country's contemporary political landscape - where renowned singers are assassinated in broad daylight and performance spaces are regularly bombed - this record continues Haq's ongoing project of engaging complex and controversial Islamic practices and rituals that operate in resistance to religious orthodoxy. "During my travels, I recorded both well-known musicians who made regular appearances on Pakistani televisions, and unknown, untrained singers who traveled from shrine to shrine with no possessions, intoxicated in the pursuit of the divine. I recorded in intimate living rooms, in crumbling concert halls, and in remote interior areas where I had to travel with a police escort. From the vertiginous falsetto harmonies of men singing in the female gender to give voice to those who carry the wounds of society, to the sparse and piercing a capella deliverances of itinerants, singing in the spaces of shrines where the doves coo in liturgies to the saints buried therein, this is music of 'unbridled bridledness', collapsing the divide between the divine and the profane. In masterful, often improvised performances on the harmonium, alghoza, been, and bulbul tarang, these songs unfold into an organic recursion of longing and despair, redeemed by an almost erotic promise of reunion with the divine entity. The singers themselves are 'ishq ke maare' - in the throes of love. Their visionary, intuitive form of devotion is in sharp contrast to the rising tide of mathematical and legalistic approach to faith called Wahhabism seen across the Islamic landscape today. These songs are iconoclastic and anarchic, transcending systems of law and social order, to approach what is truly divine in the rawest possible form."--Arshia Fatima Haq. Features performances by Ustad Aacher and Company, Kalyam Sharif Qawwali Troupe, Meeh Wasaiyo, Fatah Daudpoto, Latif Sarkar, Basheer Haidari and Nazira Bano, Shazia Tarannum, Babu, Sain Juman Shah and Fakirs, Ghulam Arshad, and an unknown singer.
2017 repress. A timely repress of the John Cameron's 1973 score to this British cult biker classic Psychomania, aka The Death Wheelers. Originally first issued in 2003 by Trunk, this jazz-rock soundtrack masterpiece has become a valuable LP, people paying up to $100 on the second-hand market. Here it rides again, with music direct from John Cameron's master tapes, with new reversed black, red, and white artwork to differentiate it from the first press in 2003. Psychomania is a true cult classic with zombie bikers, George Sanders (his last film before he killed himself out of boredom), Beryl Reid, Joe Columbo furniture, a frog, brutalist architecture, stone circles, Triumph motorbikes, Nicky Henson, teen gangs, The Living Dead, The M3 motorway, all with music by a British jazz outfit headed up by one of the great progressive jazz/library composers of them all, John Cameron.
Open Minds Now Close is the second of three singles from the forthcoming Brian Jonestown Massacre album Don't Get Lost. The first track "Open Minds Now Close" is on the album and features Dan Alliare on drums. "Melody's Actual Echo Chamber", featuring Ryan Van Kriedt and Dan Alliare, is a pitch-shifting, mind-bending mix, available on this single only. A Swedish version of "Open Minds Now Close" called "Öppna Sinnen Stängs Nu", featuring Jocke from Les Big Byrd on vocals, is also available on this single only. A side play at 45rpm; B side plays at 33rpm. 180 gram, white vinyl.
Brasserie Heroique Edits Part 3
"Four deejay wmds beaming in from Osaka: weird, unsettling disco-funk, guaranteed to rock the house. Kanwaza crosses ethnic roots and disco; Cross Calf Dance jacks up the quirkiness; Stormy Weather and Water lock down the after-hours crew."
The third release in the 12 x 12 series is this total fucking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves: Terre Thaemlitz (DJ Sprinkles) and Mat Steel and Mark Fell (SND). This is the first appearance of their collective handle You Speak What I Feel since their contribution to Comatonse's 2003 tenth-anniversary compilation, and it finds the trio at their deadliest, producing a deep-as-anything, peak-time killer riding a strolling bassline, pointillist claps, and effervescent chords for 12 minutes of swingers' bliss. Mastered by Terre Thaemlitz and cut by Matt Colton at Alchemy.
Not Waving consolidates the myriad stripes of his acclaimed Animals album (DIAG 025CD/LP, 2016) in four extended peak-time hammers on Populist. "Too Many Freaks" is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of "Vibe Killer" takes a dog-grip. "Control Myself" holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the crooked clamp-jaw groove of "Ur Lucky Ur Still Alive" pivots around a sample a lone raver at Atonal, Berlin.
LP version. "We were first introduced to the music of Gregg Turner when he was with VOM, the explicitly post-musical punk-tongue-monster he inhabited along with Richard Meltzer, Metal Mike Saunders and others. From there, he and Mike formed the Angry Samoans, who spewed an insane blend of garage/bubble-punk/hardcore noise to well-deserved acclaim. But the Samoans began including folk rock moves inside their spectrum with 1986's Yesterday Started Tomorrow EP, and most of the work Turner's done since then has contained this element to one degree or another. People who haven't heard Gregg's recordings from the post-Samoans era may be surprised by how straightforward and outright charming some of the material on Chartbusterzs is, but he acknowledges both Jonathan Richman and Tom Lehrer in the credits, and well he should, but this is not all völk väncy. The opening track, 'Kremlin Dogs,' with stinging lead autoharp by Billy Bill Miller (of Blieb Alien and Cold Sun) should remind everyone how deeply involved Turner was with Roky Erickson's post-prison revival. Roaring psych puss of the highest order. 'The Box,' Turner's splattery next chapter to the tale begun by the Velvets with 'The Gift,' is another chunk of most excellent gore. As is the solid garage grunt of 'Look In The Mirror.' But I have to admit that some of my faves are quieter tracks like 'Franz Kafka' (which I believe is ripe for an immediate cover by Yo La Tengo) and 'They Took You Away,' with the great Ronn Spencer on harmonica. Heard as a whole, the album -- which has been playing on constant rotation in the background for well over a month now -- is a goddamn gem. And almost surely the best album by a math professor since Lehrer's last LP, released half a century back. Hopefully, Turner will not keep us waiting that long for another blast from the numerical underground. As Dee Dee Ramone so elegantly put it, '1-2-3-4!' " --Byron Coley, 2016.
LP version. Includes download code. Got Kinda Lost Records present an expanded, first-time reissue of Cromwell's At The Gallop, originally released in 1975. Self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud n' lascivious ten-track offering (thirteen in this expanded edition) of proto-metal infused street rock n' roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music. Despite their cultural struggles, Cromwell crafted a creative and compact catalog - five fuzzed n' ferocious 45s and this foot-long - led by co-vocalist/bassist Michael Kiely's come-hither coo and fey Jagger pose n' preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz n' fury as comfortably as greasy '70s raunch and rural modes. At The Gallop is a rare, little-heard classic in the pub/fried rock n' roll/proto-punk terrain. RIYL: Teenage Head, Flamingo-era Flamin' Groovies, Mott The Hoople, '70s Rolling Stones, pre-punk American street rock, and the Bonehead Crunchers series. Includes three bonus tracks from the group's rare singles; Includes an insert featuring rare photos and in-depth liner notes by Jeremy Cargill (Got Kinda Lost Records, Ugly Things Magazine).
The new It's Psychedelic Baby!, dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It's Psychedelic Baby! After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the '60s and '70s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley. 44 pages.
LP version. Includes download code. Mental Experience present the first ever reissue of Requiem's For A World After, originally released in 1981. Dark, progressive, synth ambient meets Berlin-School sounds on this obscure kraut album, which "tells the story of a world annihilation through nuclear war." For A World After is full of delayed psychedelic electric guitar, effects, cold drum machines, waves of analog keyboards (Korg MS20, Casiotone 201, Crumar DS-2, Jupiter-4), and cosmic atmosphere. George Speckert is a conceptual electronic composer based in Hannover, but of North American origin. Working as a music teacher in Germany in the '70s, he started to write and produce music in his spare time, inspired by the European rock and electronic scenes of the time (Tangerine Dream, Klaus Schulze, Jean Michel Jarre, Emerson Lake & Palmer, etc.) He met another American expat, David Cassidy, who ran a small record label/studio - that's when Requiem started to take form. A chance meeting with a terrific guitar player named Massimo Grandi, led to Massimo adding some amazing electric guitar to the album. After six months, For A World After was released in a privately-pressed edition of 1000 on the small, Daviton label. RIYL: Klaus Schulze, Tangerine Dream, Conrad Schnitzler, Moebius, Popol Vuh, Metronic Underground, Rüdiger Lorenz, Michael Bundt, Wolfgang Bock, Michael Hoenig, Rolf Trostel, Pina. Master tape sound; Insert with liner notes and photos.
Mental Experience present an expanded reissue of Ildefonso Aguilar's Erosión, originally released in 1985. Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops, and field recordings. Originally recorded in Germany in 1978 by Spanish painter/sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Erosión is a masterpiece of proto-ambient, isolationism, and minimal synth music. For the first time ever, Erosión is reissued here on double LP, featuring the complete recordings, as Ildefonso conceived it at the time. Master tape sound; Liner notes in English/Spanish by Frankie Pizá (TIU Mag); Includes download code. RIYL: Edgar Froese, Conrad Schnitzler, Cluster, Klaus Schulze, Michael Stearns, Steve Roach, Brian Eno, Cozmic Corridors, Pina.
"Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organizer of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. Erosión, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original... Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, Erosión reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through." --Alan Freeman (Audion Magazine)
Beate Bartel and Gudrun Gut share history. They were both part of Mania D., "the first German punk band". Beate continued with Liaisons Dangereuses and Gudrun with Malaria!. Then they experimented in sound and visual arts and released three albums with Matador, along with Manon P. Duursma. After 25 years, they are part of the same project again, both producing five tracks for Myra Davies's spoken word album Sirens (MOABIT 021CD). This instrumental vinyl edition provides extended mixes, which differ from the original recordings. Gudrun Gut is known for her activities in the Berlin music scene since the '80s, with Malaria! and recent solo work as well as collaborations with AGF (Greie Gut Fraktion) and Hans-Joachim Irmler (Gut Und Irmler). Beate Bartel was a part of the experimental impulse that made its way into today's art world and museums. Growing up in west Berlin, Beate Bartel's interest in sounds and noise made her a sound engineer and she became a founding member of bands like Mania D., Einstürzende Neubauten, Liaisons Dangereuses and Matador, with Gut and Duursma. Davies and Gut have worked together since 1991 on several releases, notably Miasma 1 (1993), 2 (1997) and 3 (2002), and multi-media performances. Includes a download code.
After more than 30 years hidden in a dusty storage unit, Out-Sider present Eliminate Hate, the previously unreleased album from one of the most enigmatic bands from the Texas psychedelic scene, Wolfgang. An unusual blend of '60s garage-punk, Texas psychedelia (think 13th Floor Elevators or Golden Dawn), The Seeds, The Misunderstood, late era Velvet Underground, '70s era Rolling Stones and '70s pre-punk swagger. Awesome distorted steel guitar with super snotty vocals. Wolfgang were a young band from Pasadena, Texas, discovered by legendary Texas mogul C.L. Millburn. Little is known about the band and what exactly happened to them after recording this album. But, they were led by the great "Wolf", Mike Long (Stone Axe, Josefus) and they also featured an unusual steel guitar player whose electrified sound recalls Glenn Campbell at his best. In 1970, Wolfgang recorded a set of songs written by Milburn, originally intended as demos to secure a deal with a bigger company. Eight songs were taped using Milburn's trusty Sony two-track reel-to-reel, the same one he used to record childhood friend Townes Van Zandt in the late '60s. The major company deal never came so the tapes were stored at the Sea Ell archives for many years and Wolfgang disappeared in the mist of time. Three tracks from the Wolfgang sessions appeared on a compilation called The History Of Texas Garage Bands In The '60s Volume 1: The Sea Ell Label Story, released in 1994 by the Collectables label. They were credited to "The Wolves". Several years later, Michael Greisman from Cicadelic Records discovered the complete Wolfgang recordings while investigating the Sea Ell tape archive, and Milburn revealed to him the real history behind the Wolfgang project. The complete recordings have remained unreleased until now. Master tape sound; Insert with liner notes by Jeremy Cargill (Ugly Things, Got Kinda Lost)
Upside Down Volume One 1966-1970: Coloured Dreams from the Underworld
Particles present the first volume in their Upside Down series on vinyl for the first time -- a lysergic pop extravaganza featuring original artifacts from the psychedelic age with twenty flower power wonders from way down under. From the luminous void that wields such pleasures as Barry Crocker's "Imitation World" and other lysergic pop platters to the menacing feats of apocalyptic freakbeat courtesy of The Expression, Robbie Peters, and The Executives, Upside Down delivers twenty, long-forgotten relics from down under with a potent collection of psychedelic pleasures, circa 1966-1970. Other artists include: The Groove, Ronnie Burns, R Black and The Rockin' Vs, Normie Rowe, Magic, Trojans, Motivation, The Tallifer Group, The Twilights, Kevin McCann, Nineteen 87, Autumn, Dick Roberts and The Troubled Minds, and Nonesuch. Comes on 180 gram, lime-green vinyl; Includes a two-page, color insert with comprehensive liner notes and rare photographs; Edition of 1000 (hand-numbered).
The accumulation of about four years of work, with tracks written in Berlin and Melbourne, Tornado Wallace's debut album Lonely Planet is nothing like what may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats In Space and Music From Memory's sister label Second Circle, Tornado Wallace's strain of releases, so far, merge functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album So Many Colours (IFEEL 042CD/LP, 2015). Here, he leaves the needs of the dancefloor behind in order to create a magical mystery tour de trance into his inner jungle. How about some references? New age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's Heart Of Darkness, Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point "Healing Feeling", the listener will get all of that as well as collaborations with and contributions of No Zu, David Hischfelder and the voice of Sui Zhen on "Today", who would easily make Anna Domino take her proverbial hat off. With Lonely Planet, Tornado Wallace has created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made To Measure album, Lonely Planet soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.
Buzzsaw Joint: Diddy Wah - Cut 1
Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol' trashy rock n' roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild n' weird sounds of the extraordinary and inimitable Buzzsaw Joint! The first cut from the Buzzsaw Joint compilation series comes courtesy of London based music fanatic, DJ and dedicated 45rpm record hound, Diddy Wah. Whether slinging vinyl at his Heavy Sugar club nights or through the NTS Radio airwaves, the man's got good taste - impeccable, even. His open-eared, between-the-cracks approach to music selection suits Buzzsaw down to a tee. Enjoy a glimpse into DJ Diddy Wah's record collection with these sixteen handpicked bliss bombs, all recorded between 1959-1962. Features: Sonny And Premiers, Billy Garner, Bobby December And The Famous Renegades, The Canjoes, Joe Louis Johnson, Dennis And The Menances, The Rumblers, Eugene Blacknell And His Savonics, Sammy Fitzhugh, Gabriel And The Angels, Jimmy Beck And His Orchestra, Johnny Acey, The Egyptians, Rex Garvin And The Mighty Cravers, Bunker Hill, and Ray Vernon & The Raymen.
"Joining Maurizio and Roberto Opalio on their fourth album for Starlight Furniture Co., legendary French-Corsican guitarist and co-founder of Groupe de Recherche et d'Improvisation Musicales brings his noisy lyricism to three long tracks of oddly sensual and animalistic space howl. As their past collaborations attest, My Cat Is An Alien's self-sustaining biosphere is an environment where the surreal dreamscapes of mavericks and eccentrics flourish. Jean-Marc Montera's home-made guitar table, objects, and electronics forge metallic ribbons that twitch between the distant clangs of gigantic spores, while Maurizio (on home-made double-bodied string instrument and effects) and Roberto (on alien-tronics, effects, and modified electronic devices) set worms adrift in a zero-gravity aviary stocked with narcotized satsuma fowl. Roberto adds disorientation to the trio's fog-blurred horizon with wordless vocalizations that could pass for billowing laments hooted by mutant sea mammals with enoki mushrooms growing on their larynxes."
Four enthusiastic remix versions from four European electronic producers who revisit On Mande (TAL 001CD/LP, 2016), the latest album by Kenyan vocalists Ogoya Nengo And The Dodo Women's Group. For the "Orutu Run" version, Lena Willikens takes individual sound samples from different songs of the album. "Mix Zwei" by Tolouse Low Trax is an intensely sparse signature mix - growing drum beats reflect the lovely sung vocal line. "Sorbe Pekingese" by Don't DJ is an unrelenting excursion on digitally pitched vocal samples. "Bunde Dub" by Berlin based producer Orson takes some complex Ohangla drum patterns to tight and powerful effect.
An unreleased 1979 post-punk-post-disco banger from British musical maverick, Basil Kirchin. Back in the late 1970s, Kirchin was in Hull, working on numerous projects, documentary scores, and strange musical concepts. "Silicon Chip" is a rare surviving and most unusual work from the period, until now an unreleased slice of jumping, plugged-in perfection presciently celebrating the dawn of the computer-based industrial revolution. "Silicon Chips" is a set of quick electro blasts and logos, possibly conceived and written for library usage. Personnel: Gary Burroughs - vocals, guitar, keyboards; Danny Wood - drums; Dane Morrell - drums; Bernie Dolman - bass.
Passage is the second collaborative album from London-based synth-wizard Ulrich Schnauss and Danish producer Jonas Munk. 11 tracks of breezy, blissed-out electronica and colorful ambient. As the album title denotes, there's a sense of movement in the music these two producers create together: a Schnauss and Munk composition starts one place and ends up someplace very different - something that can only rarely be said about electronic music, which traditionally has focused its energy on texture rather than composition. Sometimes their vivid, expansive soundscapes feels like the sonic equivalent of gliding towards the horizon through a panoramic landscape on a train. One's perspective changes slightly when in motion from one place to another - continuously approaching new things and leaving others behind. There's a prismatic, multi-dimensional quality to these 11 tracks, likely stemming from the fact that these two producers each have worked with a wide range of styles and musicians throughout their 15+ year careers: Ulrich cut his teeth as a drum and bass producer in Berlin, before releasing a string of highly influential neo-shoegazy records on labels such as Domino and City Centre Offices. Since moving to London in 2006, he's been a member of bands such as Engineers and Longview and remixed artists ranging from Depeche Mode and Pet Shop Boys to Mojave 3, and since 2013 he's been a member of legendary band Tangerine Dream. While Jonas Munk initially became known to the post-rock and electronica communities via his Manual albums on Morr Music and Darla Records, he's also had his hands in psychedelic rock (he's a noted producer in the European psych scene and is in the band Causa Sui) as well as film soundtracks and experimental minimalism. Both Ulrich and Jonas, however, have the skills of seasoned producers to weave the multitude of influences together in a well-defined sonic aesthetic. The result is a compelling set of melodic electronic music that echoes the past, yet feels fresh.
"In this month's issue: a conflab with Run The Jewels, hiphop's 24 carat duo of El-P and Killer Mike; a rare interview with Russian composer and Tarkovsky collaborator Edward Artemiev; a round up of Lisbon's new jazz vanguard; plus Dubplates & Mastering's Rashad Becker takes the Invisible Jukebox test; and not forgetting all the (un)usual monthly views, news, and reviews."
"Dan Melchior has become an unlikely 21st century experimental music icon. As the forms, signifiers and 'experiments' of the last several decades have become increasingly codified, one naturally begins to ask the question what the term in a contemporary setting means to the listener. If the performer and the audience both know what to expect before, during and after a record or performance, can it be considered an experiment? At the start of the century, Melchior was known in NYC as being a studied garage rock provocateur with songwriting palate that was equally insightful, vicious and emotive. This is not mentioned for alt rock bravado but to establish a pedigree that none of his immediate peers can claim, clearly showing a breadth of skill and technique they lack or refuse to engage in. Over the last ten years however, Melchior has continued to strip the edges off his music. On his new album, Melchior finds himself removed from any established school of sound. At times caustic, dubbed out and/or haunting, Melchior recalls obscure records we've never heard. The source sounds were mostly recorded on a little Sony mini cassette recorder. Some is live (pots and pans being hit -- etc.) slowed down on playback using the slower speed on the recorder -- some of it was recorded off of records and tapes, using the same recorder. The source sounds blurred to fit Melchior's tonal needs. Melodies arrive as well, the melancholy ballad 'Mall Walker' evokes images of Satie if he recorded for Vinyl On Demand. The influence of his wife Letha Rodman Melchior is clearly evidenced as well, their combined techniques explored through years of creative collaboration. What is an experimental record? Perhaps the best definition is, an album that you won't know what it sounds like until you drop the needle." --Steve Lowenthal. Mastered by Rashad Becker. Comes on 180 gram vinyl; Comes in an Old Style Tip-On jacket.
2017 limited repress; Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Shūji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
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!"
Brasserie Heroique Edits Part 3 12"
Amazonia 6891: Sounds From Jungle, Natural Objects, Echo And Electronic Waves CD
My Good Friends Tell Me That 12"
Deathward, To The Womb LP
Che Il Mio Grido Giunga A Te/Prendi La Chitarra E Prega CD+DVD
Sferic Ghost Transmits 2LP
Live At The Palladium New York Halloween 1977 CD
Live in New York: Eight Miles High LP
Live At The Boarding House '72 LP
Instrumentals For Sirens LP
Portobello Explosion: Collected Artefacts Of Illustrious Noise 1965-1970 LP
Upside Down Volume One 1966-1970: Coloured Dreams from the Underworld LP
Curiosity Shop Volume One LP
Dustin E Presents... Cornflake Zoo: Episode One LP
Beatfreak! Vol. 2: Rare and Obscure British Beat 1964-1969 LP
Dustin E Presents... Cornflake Zoo: Episode Two LP
Mixed Up Minds Part Twelve: Obscure Rock & Pop from the British Isles 1968-1973 CD
E Je Ka Jo (Let's Dance) CD
I Want To Feel Your Love CD
Buzzsaw Joint: Diddy Wah - Cut 1 LP
Union Of The Supreme Light LP
The Miracles Of Only One Thing CD
Ishq Ke Maare: Sufi Songs from Sindh and Punjab, Pakistan LP
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 (Purple Vinyl) LP
Lost In Wonderland (Yellow Vinyl) LP