"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time."
DΔWN's, aka Dawn Richard, last album Blackheart (2015) was FACT Magazine's #1 album of the year. It was in the Best Album of 2015 charts by Pitchfork, Rolling Stone, Vogue, LA Times, Spin, Elle, Noisey and The Guardian, who called it "the most ambitious and revelatory album of 2015." Her first single of 2016, Not Above That (LOC 027EP), has garnered just as much success and she followed it with a series of show-stealing shows at SXSW (at the Pitchfork, Spin, FACT and Hype Hotel showcases). She also collaborated with Kingdom on "Honest", which received Pitchfork's Best New Track. With future collaborations in the works, she looks set to continue breaking down barriers of music, performance and technology. Redemption strikes the perfect balance between future-facing electronic music (with production from Machinedrum and Noisecastle III) and the music of DΔWN's New Orleans upbringing, bound together by an untouchable approach to songwriting and flawless vocal range. The final part in a trilogy that started with Goldenheart (2013) and continued with Blackheart, it represents her most focused, complete album yet. Features contributions by Trombone Shorty and PJ Morton.
Outta the shadows and into the strobe-light, Alex Lewis, aka Turinn, debuts on Modern Love with a debut double-pack of sawn-off bruk-beats and anxious, nerve-riding grooves brewed in the ravines of North Manchester. Turinn emerges from a new generation of producers in the city that include longtime spar Willow, and upcoming producer Croww. Crooked and rugged, but tempered by an acute emotive sensitivity, 18 1/2 Minute Gaps renders a bleedin' cross-section of mongrel, hybrid style 'n pattern in a breathless, deceptively freehand fashion that comes riddled with an electric blue energy all of its own. Committing ten tracks of fractious, mutant funk and sore feels, 18 1/2 Minute Gaps serves to cap Turinn's formative phase of production like a lead lid on a nuclear rave implosion; trapping original 'ardcore 'nuum, Detroit booty and dank post-punk elements in a perpetual flux of in-the-pocket grooves which ravenously attempt to split at the seams, alternately pushing into Muslimgauze-like buffer zones of distortion or resoundingly wide ambient dimensions, and often both at once. This ambiguous dichotomy is epitomized between the rare surge of quick/slow torque in "Ovum", which almost sounds like Chris Carter sparring with Burial Hex, and then in his nod to the Italian new wave with "Elba", which seems to find the square root between Lorenzo Senni and some skudgy as heck Kassem Mosse grind, whereas the bittersweet soul of "1625" finds compatible links with his close peer, Workshop's Willow as well as Japan's Shinichi Atobe and scene enabler Move D, while "Parratactico" swaggers into quantum dancehall meters. The album title track runs at a next level Detroit momentum like DJ Stingray flipping Derrick May and Carl Craig's "Kao-tic Harmonies", before "ESO" cuts in like a super cranky El-B wearing itchy Primark underwear, and the bone-rattling hardcore jungle of "Spawn" soon enough gives way to the sweet lad couplet of "Petrichor" and "Ondine", where his elusive, distressed melodic touch really shines thru. Mastered and cut by Matt Colton at Alchemy; Pressed at Pallas.
First issue of this previously unreleased oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. Nuits D'ete Avec Naima Samin is the second part of Abdou El Omari's Nuits-trilogy. This album contains heavenly compositions for the Moroccon diva Naima Samih and some moody instrumentals in a similar vein to the previous album, Nuits D'ete (RMLP 001LP, 2016). Includes download code.
Moliendo Cafe is an incredible compilation of singles recorded by Mina in the sixties for the Spanish and South American market. Some of them are original versions written by Spanish and Latin composers, some others were written in English and then translated. Some of them are huge successes performed by the so-called "Tigre di Cremona" ("Il Cielo In Una Stanza", "Mi Vuoi Lasciar"). Of great interest is the Spanish version of the immortal "Dindi" (written by António Carlos Jobim) and "Un Desierto (Heisser Sand)" originally recorded for the German market and then immediately translated in Italian as "Si, Lo So".
Double LP version. 180 gram, yellow-colored vinyl. Don't Get Lost was fully recorded and produced at Anton Newcombe's new Cobra Studio in Berlin. It is the 16th full length release from The Brian Jonestown Massacre. It was recorded from March 2016 to October 2016 with band members Ricky Maymi, Dan Allaire, Collin Hegna, and Ryan Van Kriedt. Saxophonist Emil Nikolaisen, from the Norwegian band Serena-Maneesh, joins the band, and there are vocal performances from Tim Burgess (Charlatans), Tess Parks, and Shaun Rivers. A new dynamic is heard on Don't Get Lost, mixing a shoegaze and psychedelic sound with more experimental twists on some tracks you might hear from Public Image Limited's Metalbox (1979), Primal Scream , or even Ornette Coleman. 14 tracks that will twist-and-turn through the known, and the unknown, Brian Jonestown Massacre. Anton Newcombe has been a very busy man these past two years, kicking off with the critically acclaimed Brian Jonestown Massacre album Revelation in May 2014 (AUK 030CD/LP). After a successful UK and European tour, the BJM followed this up with the + - EP in November of the same year (AUK 031EP). 2015 saw the release of Musique de film imaginé in April (AUK 032CD/LP); an imaginary film soundtrack album featuring the track "Bonbon" which has, ironically, been used in Dheepan, the Palme d'Or winner at the Cannes Film Festival of 2015. In June, Anton and Tess Parks embarked on a well-received tour of the UK and Europe to support the release of I Declare Nothing (AUK 120CD/LP). Anton finished 2015 with a BJM mini-album release entitled Mini Album Thingy Wingy (AUK 033-10, 033CD/LP). 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, New Zealand, and then, in 2016, USA, Canada, Europe, Chile, and Argentina.
LP version. Includes CD. In today's increasingly barren rock and roll landscape, Ulan Bator stand as beacons of explorative songwriting. Formed in Paris in 1993 by Amaury Cambuzat (vocals, guitar and keyboards) and Olivier Manchion (bass), the band's atmospheric approach to composition has consistently yielded guitar-driven, avant-rock at once hypnotic and untamed. And while their sound has developed in a variety of directions - often in relationship to changing line-ups and various collaborations, including with Faust and Swans' Michael Gira - Ulan Bator resist simple categorization: kraut-y repetition, post-rock guitar flourishes and kosmische synth work have all taken an audible lead throughout their now twenty-year career. Stereolith sees band mainstay Cambuzat continuing on in a tradition of experimental rock and roll, projected through a contemporary prism of electronics and synthesizers. Cambuzat pieced together the band's 12th album on his laptop before eventually re-recording individual parts in the studio. The result is a crisp sound that resists typical psych and experimental clichés of washed-out and contourless improvisation. The songs on Stereolith achieve a grand, looming presence despite their relatively short lengths. While Stereolith's longest and most obvious genre-nod "NeuNeu" clocks at a pleasantly meandering five-and-half minutes and features guitar work reminiscent of Michael Rother, most of the songs are under four, with dream-like atmospheres established from the beginning. An excellent example is "Blue Girl", which opens with deep sustained piano, gongs, and industrial bleeps before exploding into a playful post rock groove that plays off Popol Vuh-like synth vamps. That quality continues on album standout "Ego Trip", sung by Cambuzat in both French and English. The song's various melodies - played on harpischord, chorus bass, guitar - shift over a steady chord progression to create a glorious interweaving. Cambuzat's non-native approach to writing in English, like that of Björk or Damo Suzuki, borders on the surreal. "I lost myself in a spinach can," he murmurs on "Spinach Can", evoking a lysergic-tinged scene from an episode of Popeye. By the end of the slow, dirge-like final bursts of album closer "Dust", it becomes clear that in Cambuzat's world, the dark, the light and the strange are comfortable bedfellows. It's an atmospheric ménages-a-trois that occasionally pushes beyond the boundaries of taste and coolness into vaguely new-age-y and adult contemporary territory. As the singer said in a recent interview, "The music is best listened to in a 3D pyramid, in the middle of the Pacific Ocean."
Ja - Nein - Vielleicht Kommt Sehr Gut: A Selection Of Electronic Beats 1980-82
Austrian national Xaõ Seffcheque was at the right place at the right time: Düsseldorf at the end of the '70s was not only the nucleus of German punk, but it also enjoyed a fruitful symbiosis with the parallel development of a synthesizer-supported side-line. However, in historical retrospective, forty years after the punk big-bang and 35 years after the electronic substitute-revolution in Germany, there is the question: What impact did Palais Schaumburg, Deutsch Amerikanische Freundschaft, Liaisons Dangereuses or Der Plan expect from their music? Objet d'art? Material for archaeologists? Xaõ Seffcheque's music - same, but different later on with Family*5 - was all that and more: Always great everyday stuff to listen to is still the object of engagement and discourse because of its impact and the marks it left behind. This compilation, Xaõ Seffcheque's electronic phase in the early '80s from both his albums Sehr Gut Kommt Sehr Gut (1981) and Ja - Nein - Vielleicht (1981), plus unreleased tracks from 1982, comes in two parts: The songs of Sehr Gut Kommt Sehr Gut are always satire, persiflage, paraphrase altogether: Reflecting his contemporaries with '80s analog equipment, this discourse always adds something new and unheard of. The fact that Seffcheque released that (fake) album as an anticipation of the Neue Deutsche Welle sell-out did shape those songs audibly by deconstructing the music of essential German bands at that time in order to reassemble them in a very sarcastic way and into a whole new context. Whereas the following album, Ja - Nein - Vielleicht was of a very different kind and Diederich Diederichsen, the pope-of-pop, had this to say about Seffcheque's sequencer-meets-jazz-onomatopoetic-scat-vocals-meet-guitar-riffs in Sounds Magazine: "Xaõ Seffcheque has made his first music-record without any jokes, quotations and 'Kulturkritik'. Music instead of cabaret. A lot of Düsseldorf 'negro-music' with an excellent brass section and vocal effects: A winningly distorted Louis Armstrong song, a modern march-funk-pogo piece with scat vocals of a digital age, ethereous, intense experiments (in the title song Xao pleases with foreign stammering and in 'Du Und Ich' with a girls choir from the next best solar system. In brief: a very modern record bordering on rock and disco. Defiant. Sorrowful. Tough." Bureau B present here a restored and remastered compilation of Xao's best songs from his solo phase. Cover photo by Richie Gleim, taken during a recording session in 1981. Furious non-chalance, regardless-of-the-consequences lunacy, and indestructible musical talent.
The Spirals of Great Harm is the new sprawling double disc from black noise classicists Skullflower - referencing Inferno XVII, Dante and Virgil's spiraling descent into the abyss on demon Geryon. Full of harsh beauty and hymns for lost Albions, battle songs against the homogenization of modern "lyfe" - fuck the new estate! Skullflower on The Spirits of Great Harm: "Hedgerows, tapestries, dream woods, dragon lands. After Draconis (CSR 190CD, 2014), we have been released to roam through the multiverse, fashioning trinkets and ornaments from jewelled sounds, and leaving them as waymarkers on our astral travels. We seem to be circling, encountering familiar territories, yet always changed, because these circles, from a true perspective; are all part of a great averse spiral, our pattern, our map, which is the terrain itself. You will hear hints and echoes of native keening, lush prog romanticism, and the charcoal textures of noise, but all subsumed within our alchemy, the unmistakable wellspring of sound that is SF." Comes in a six-panel digipak.
A Script For Machine Synthesis
The latest work from Florian Hecker, A Script For Machine Synthesis, is an experimental auditory drama and a model of abstraction. A Script For Machine Synthesis presents a complex simplicity that spirals in an unending manner as an audio image of the uncanny valley. It is the third chapter in a trilogy of text-sound pieces in which Hecker has collaborated with the philosopher Reza Negarestani. A resynthesized voice outlines procedure as procedure itself unfolds. The suggestive encounter with a pink ice cube is a conceptual point of departure for a scene in which linguistic chimeras of descriptors are materialized through synthetic trophies, mental props and auditory objects. Hecker presents a synthesis of the gap in the valley which the listener almost knows. The motifs Hecker has staged in the last decade - the text, the sound, the scent, the obelisk, the demon, the self, the other - all appear throughout in a thorough, rigid and formal exploration. Exeunt all human actors, A Script For Machine Synthesis is an experiment in putting synthetic emptiness back into synthetic thought.
"Mark Dagley, although largely focusing on his visual art for the last many years, is a musician whose work has always intrigued us. We already issued some of his work with The Girls (FTR 220LP, 2015), Hi Sheriffs Of Blue (FTR 093LP, 2014) and Marianne Nowottny (FTR 221LP, 2015). Now, here's Collected Works, only the second album issued under his own name. We had bugged Mark for a good long while about digging up the tapes for the 'Shut It Up/Gossip Crowd' single he'd done back in '79 (immediately precursing the Hi Sheriffs), and when he transferred that material to cassette, he included some newly unearthed electronic work done at the same time he was working with The Girls. The stuff was great, collapsing waves of splendid analog murk, so we immediately requested a full album of 'solo' material. The resulting set spans almost 40 years of work and ranges from experimental blues explosions for solo guitar to drone-oriented electronics, transcriptions for a mechanical music box, and the splutzo No Wave kuck we had originally asked about. It documents four decades of strange invention, carried out almost fully beyond the view of the record buying public. It's a lucky break for you that we had the moral fiber to bring this mother to ground. It's an amazing and mysterious listen from first note to last." --Byron Coley, 2017.
LP version. "Unreleased early Algerian synth electronic by Ahmed Malek, compiled and co-produced by Flako. In the early 1980s, Ahmed Malek was already in his 50s, when he discovered synthesizers and electronic music for himself and started to experiment with sounds. The result was a mixture of ambient synth music, field recordings he made in Cuba and a wide variation of different sound experiments that he also presented as different avanguarde music festivals in Cuba and the US. None of it was ever released but we got a huge box of master tapes from his family and we're happy to present this different side of Ahmed Malek's music. It was compiled and co-produced by Flako, a fan of early electronic and synth music. This is not a remix album though, Flako's aim was to create an album out of 2 hours of material that sounds like it might have if Mr. Malek would have finished it himself before of his death. Fully approved and licensed from the artists family. The album comes with an informative booklet with liner notes, an interview with Flako regarding his approach towards the production and unseen photos. We will also release a third album by Ahmed Malek which will be more in the vein again of the music he is known for and this album will also be previously unreleased."
"Formed in Los Angeles in 1965, The West Coast Pop Art Experimental Band were considered by many to be the West Coast's answer to the Velvet Underground. The group created California psych/rock music that was both fragile and dreamy. Part One was originally released in 1967 on Frank Sinatra's Reprise Records. Though they didn't achieve the fame or notoriety of other bands from the area, they have nonetheless achieved a cult status among collectors and people curious about a rich, albeit short-lived musical genre known as West-Coast Psychedelia. First time reissued in mono, from the original master tapes."
"The lone recordings of teenaged vocalist Anna Makirere of Rarotonga, Cook Islands. Sung in close harmony in Māori Kuki Airan, Tiare Avatea pairs Makirere's casual yet masterful vocalizations with virtuoso accompanists. Somewhere between slack-key and flat-picked, the brilliant guitar work is seasoned tastefully with sunburned effects. Translating literally to 'Afternoon Flower,' this radiant collection of originals and traditionals was issued regionally on cassette in 1981. It remains a unique look into Cook Islands sound and style."
Early pioneers of the German New Wave music scene, Din A Testbild were formed in 1978 by Mark Eins and Gudrun Gut (former member of Einstürzende Neubauten, Mania D. and Malaria!). Din A Testbild played a significant role in defining the avant-garde music of Berlin. Their participation at the Festival Genialer Dilletanten in 1981 is legendary. Programm 3 is their third album. Mixed and auto-produced by Mark Eins with help of Ziggy Schöning, it was released on Klaus Schulze's record label Innovative Communication in 1983. Programm 3 represents a moment of distance from the "kraut" past of the band. Moving out from the legendary Schulze's studio into a home recording dimension with a basic equipment (Roland TR-808, Moog Source, EMS Synthi, tape loops), the sound of Din A Testbild was radically changing, getting closer to the experimental-electro and connecting the Neue Deutsche Welle ("German New Wave") with cosmic disco. It's well known in fact that Din A Testbild were a favorite in the playlists of the Italian DJ pioneers Daniele Baldelli and DJ Mozart, while nowadays you can find them in Matt Edwards/Radio Slave home listening mixes. Mastered by Rude 66. Edition of 500.
Repressed. "Bl_ck B_st_rds was voted in Ego Trip's Book of Rap Lists as the most notable rap album of all time that was never released commercially, and with good reason. The fact that this excellent album, slated for a 1994 release, did not seen the light of day until 2001 (its first issue - now out of print) testifies to a time when shortsighted industry backlashes against records that inflamed middle America were in vogue. Elektra Records higher-ups canned the project due to its controversial cover art, which shows a Sambo figure being lynched. This must-purchase concept album is worth the wait. From the jazzy, hypnotic samples on the title cut to 'Sweet Premium Wine,' a farcical ode to swigging 40-ounce bottles of brew (remember when drinking St. Ides and Old English was trendy?), you know you've found rap heaven. Classic headbanger 'What a Nigga Know?' (and the remix featuring partner-in-rhyme MF Grimm) is equally off the chain. 'Constipated Monkey' and weed anthem 'Suspended Animation' are testaments to a time in Rap music when experimental beats and obscure sampling ruled the roost. Bl_ck B_st_rds is where Brand Nubian meets De La Soul at the local bodega, heads wear Muslim kufis for kicks, and 'word to the mutha' actually refers to themes of pan-Africanism, repatriation, and reparations. It's a place where Sambo-ism doesn't sell. Features artwork and track listing from the original Ready Rock issue."
"Australian guitarist/visionary Rob Thomsett's collected works -- two LPs -- are combined into one package as the fourth release in the Now Again Reserve series. Originally privately pressed in tiny numbers in Canberra in the mid-'70s, Yaraandoo & Hara have become sought after examples of the best in progressive jazz/rock. Custom made, 'mini-LP', tip-on CD packaged with perfect-bound booklet packaged in O card. 'Taking in impressionistic hazy instrumental jazz ... muscular fusion moves, solo Mellotron pieces as heavenly as anything Beethoven or Handel ever concocted, extremely loose-limbed ethno-fusion soundscapes of the Don Cherry/Pharoah Sanders variety, film soundtracks ... and electronic experimentalism ... hair-raising, soul-searching beauty -- with an overall dreamy, hazy quality that perhaps could only be written by an Australian fully conversant with the 'Dreamtime' cultural feel for the myths and legends of the Outback." --Julian Cope's Head Heritage
Sub Ost present a complete reissue of Guido & Maurizio De Angelis's soundtrack the 1975 film Roma Violenta. This is the complete original soundtrack (with all the outtakes) for one of the most iconic Italian "poliziotteschi" films, the Italian answer to the Charles Bronson/Clint Eastwood mania of the 1970s. Written by the brothers De Angelis, the score alternates between killer, funk grooves and more laidback instrumentals. Presented here for the first time on two LPs; Comes in a gatefold sleeve, with original artwork and film stills.
2017 repress, originally released in 2015. Ecstatic resuscitate Daniele Ciullini's "sonic polaroids" of odder '80s pop, drone, and drum machine workouts in the detached dimensions of Domestic Exile: Collected Works 82-86. Compiling the Florentine artist's standout '83 cassette plus a whole other side of compilation obscurities on vinyl for the first time, it presents a series of brilliant, isolated self-portraits by a mail art and tape scene insider (also photographer, zine publisher) who operated on the periphery of electro-industrial and ambient zones. His music is little known outside of Italy, so all credit is due to Alessio Natalizia for bringing his wide-ranging and prescient work to a broader audience here. As Ciullini's pal and bandmate in The Cop Killers (along with Masami Akita, no less), Vittore Baroni states on the liner notes that Domestic Exile was produced when Ciullini was in his late 20s and therefore possesses a more measured, mature approach than many of his contemporaries who were also scrabbling around similar sounds. Using the instantly identifiable Boss DR-55 and Roland TR 606 drum machines, plus a 303, Fender Stratocaster Electric, and Yamaha CD-5 fed direct to TEAC tape deck, these are beautifully concise, dynamic glimpses of a sharpened mind at work, proving equally adept at nipping shifty industrial drum patterns as well as brooding proto-shoegaze with "Soft Marble", or European synth expressions like "Flowers in the Water". A massive recommendation for fans of Chris Carter's The Spaces Between (1980), early The Human League or John Bender. Compiled by Not Waving. Edition of 500.
Lucky Boy (2017 Edition)
Limited 2017 release of DJ Mehdi's Lucky Boy, originally released in 2006. DJ Mehdi's classic from 2006, now in a neat 2017 anniversary edition. The tenth anniversary reissue comes as a double vinyl release. The second vinyl collects the best mixes from various 12" of 2006 and 2007. Included CD is the original album (the bonus mixes are exclusive to vinyl). Bonus LP features: Thomas Bangalter, Brodinski, Kenny Dope, and Outlines.
The Viking of Sixth Avenue
2017 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."
Following Azymuth's recent album Fênix (FARO 194CD/LP 2016), Far Out Recordings announce the release of a 12" reissue of two of the Brazilian mavericks' heaviest dance cuts, remastered from the original Outubro (FARO 190CD/LP) tapes. Alex Malheiros's earth-shaking slap bass in the first few seconds of "Dear Limmertz" makes up an iconic moment in jazz-funk history. The groundbreaking disco hit "Jazz Carnival" is one of their heftiest floor fillers, and is also one of the trio's most recognized tunes. "Maracana" is another super-heavy jazz-funk belter encompassing Ivan 'Mamao' Conti's signature swing, backing Jose Roberto Bertrami's effortlessly slick keyboard harmonies.
Song Cycle Records present a reissue of The Entire Musical Work Of Marcel Duchamp, originally released by Multhipla Records in 1976. The Entire Musical Work Of Marcel Duchamp is a collection of experimental pieces composed in 1913 by the legendary artist, and executed by Petr Kotik and the S.E.M. Ensemble in 1976. Employing chance operations and non-musical sounds, Marcel Duchamp's musical oeuvre predated some radical concepts developed forty years later by John Cage. Presented here on 180 gram vinyl.
Efficient Space continue to expose Australia's esoteric musical history with Oz Waves - a collection of '80s DIY recordings, compiled by odd wave anthropologist Steele Bonus. Definitive proof that inhabitants of the Down Underground were links in a global network of creative kooks, Oz Waves connects those who utilized mobile recording rigs and small press releases to create and disseminate misfit synth-punk, tape loop experiments, and inner city pop. Through overseas mail order exchanges, anonymous groups like Zerox Dreamflesh could find place on Belgian compilations, while Chris and Cosey lullabied their son to sleep with Irena Xero and her interdisciplinary art collective Zip. Bonus selects ten survivors from the fertile period (1982-1989), most of which were only issued on cassette in tiny editions of five to one-hundred copies. M Squared affiliates Prod join the extraterrestrial Software Seduction, He Dark Age's minimal wave neglect and the irreverent cut ups of The Horse He's Sick and MK Ultra & the Assassins of Light. The remaining tracks have been sourced from musicians' private archives and are being officially released on Oz Waves for the first time - Andy Rantzen's industrial dub Itch-E & Scratch-E precursor, the buoyant vocal-drone of Ironing Music, and Moral Fibro, Sydney's short lived answer to Weekend and Marine Girls. With detailed track-by-track notes, lines are drawn to Severed Heads, Scattered Order, and other antipodean post-punk royalty. As a DJ, Steele Bonus has gained notoriety via the exquisite selections that form his ongoing mix series Odd Waves. Sydney-born, Amsterdam-based, his graphic design has not only been responsible for sleeves on Efficient Space, but also trusted Amsterdam connoisseurs Music From Memory and Young Marco's Safe Trip. Includes a download card.
LP version. Includes download code. Mental Experience present a reissue of Cozmic Corridors self-titled album. Cozmic Corridors is an underground kraut-kosmische monster, recorded and produced circa 1972-73 in Cologne by Toby "The Mad Twiddler" Robinson for his Pyramid label. The album was apparently released as an ultra-limited handmade edition back in the early '70s, but no original copies have surfaced. Featuring Mythos drummer Hans-Jürgen Pütz on percussion and effects, alongside synth/keyboard freak Alex Meyer, poet/vocalist Pauline Fund, and the mysterious guitarist Peter Förster. Cozmic Corridors is an album if tripped-out electronic ambient soundscapes, dark atmospheres, drones, plenty of MiniMoog, gothic Hammond organ, Rhodes, electric and 12-string acoustic guitars, ritual chants, effects, and horror cinematic vibes. It is not advisable to listen to this alone in the dark. RIYL: Terry Riley, Cluster, Ash Ra Tempel, Popol Vuh, Emtidi, Jacula, Franco Leprino, Dead Can Dance. Master tape sound; Insert with detailed liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996).
Irish artist Áine O'Dwyer follows her highly acclaimed Music For Church Cleaners vol. I and II double LP (2015) with two LP releases, Gegenschein and Locusts (PP 027LP). While continuing to explore the church organ as the primary instrument, these two releases steer away from Church Cleaners in both sonic content and themes explored. Gegenschein was recorded at the Franciscan Friary in Limerick, Ireland. O'Dwyer gained access to the Friary in 2012 and explored both the pipe organ and the space in its disused state. What becomes of a sacred space after the dispersion of the spirit, after the light has been switched off, after the deconsecration? Edition of 500.
LP version. Pharaway Sounds present a reissue of Moğollar's self-titled album, originally released in 1976. Makam madness gives way to instrumental prog on this burned-out last album from Moğollar, Turkey's Anadolu pop heroes. Moğollar was the band that never had a singer attached for long, and yet even more than Baris Manco or Erkin Koray, they consciously highlighted what was different about the new sounds of the era. Incredible fusion of ancient Anatolian melodies and instruments with prog/psych with occasional, piercing fuzz guitar. RIYL: John Berberian, Devil's Anvil, and vintage Turkish psych. Remastered sound; Includes liner notes by Angela Sawyer.
The return of Andy Votel's most elusive alter-ego with a new album of delirious and darkened collage pieces brought to you by his own Pre-Cert Home Entertainment label, run alongside longtime spar, Sean Canty (Demdike Stare). Hiding behind "Cowardly Pseudonyms" inspired by the incognito exploits of Jean-Pierre Massiera and a long list of Italian library musicians, Applehead is the twice-removed alter-alter-alter ego project of Dead-Cert, Finders Keepers, Cacophonic, Pre-Cert label boss and designer Andy Votel, aka Anworth Kirk, aka Xian Orphic, aka Tandy Love, aka Tony Deval, aka Neotantrik, and the list goes on. This hang-dried and un-cured collection of low-brow electronics, oblique movie-tones, cold-funk, ready-made poetry and domestic plunderism spans five years since the debut Applehead LP on the Pre-Cert label (2011). Cut and pasted from a pool of overnight rare synth-lends, some obscure foreign-pop fix-ups and a stash of emotive tonal sketches and tape-edits (prepared when touring Milan and Rome with Suzanne Ciani and Northern Italy with the blink-missable Stanza Nera punk-funk project) these multifarious, Crepaxian comic-book compositions have clearly absorbed a strong Italian DIY muse. With respectful nods to Daniela Casa, Raskovich, Frizzi, and AR Luciani, Applehead also combines surrealist shlock with Letterist informed random Roman female spoken word and occasional back-handed salutes to Throbbing Gristle and NWW projects. This self-motivated, naturalistic response to the broad vista that has informed 20 years of Votel's unwaning multi-dis adventures offers an infrequent opportunity to hear his personal problematic-pop and scalpel-happy art in the comfort of his own creative confides complete with square-pegs and sandpaper. Mastered by Matt Colton. Edition of 500.
LP version. Filipino-American Jon Irabagon has topped both the Rising Star Alto Saxophone and the Rising Star Tenor Saxophone categories in Down Beat's critics polls and been named one of Time Out New York's 25 New York City Jazz Icons. A founding member of Mostly Other People Do The Killing, he is also an integral member of the Mary Halvorson Quintet, Dave Douglas Quintet, and Barry Altschul's 3Dom Factor. John Hegre is a musician, songwriter, sound engineer, and a pioneer of the Norwegian noise music scene. He founded Jazzkammer with Lasse Marhaug in 1998, releasing their debut album Timex (RCD 2014CD) on Rune Grammofon the year after. He has been involved with close to 50 releases on various labels. Nils Are Drønen has been a player on the fertile music scene in Bergen since teaming up with Hegre 20 years ago. He is part of several constellations, including The Last Hurrah!!, playing on their The Beauty Of Fake album (RCD 2145CD/RLP 3145/RLP 3145LTD-LP, 2013) and The Great Gig In Disguise 10" (REP 2121EP, 2011). With Jazzkamer he has recorded six albums and toured Europe, Asia, and America.
Sonor Music Editions present a reissue of Lo Sport Volume 1, with compositions by Remigio Ducros, Daniela Casa, and Gian Piero Ricci, originally released in 1971. Outstanding double LP production originally released on the very small Union label, founded by G.P. Ricci and Remigio Ducros. Lo Sport is one of the rarest library productions ever, and is considered a true holy grail for record collectors all over the world. This monster album features some of the hottest break-beats, funk, and psychedelic tunes from Italy, with mental grooves, samples, and themes. The absolute top-of-the-top in early '70s Italian, classy sounds. Comes in a gatefold sleeve; Edition of 500.
LA legend John Tejada and acid innovator Tin Man (Johannes Auvinen) follow their 2016 collaboration, the LA-inspired Acid Test 10, with a 12" inspired by Auvinen's hometown (and Tejada's birthplace), Vienna. Acid Test 12's four songs were mixed down live to two tracks without a DAW or multitracking. The tense drum workout of "Railjet" opens the record before Auvinen sculpts his 303 into near-pizzicato form on "Bim," one of the duo's most memorable tracks. "Danube Nights" blends widescreen acid lines, a pensive lead, and melancholy chords as the drums roll along, tough enough for a heaving floor with a hint of fragility for the headphones.
Nantes, France-based drummer and percussionist Will Guthrie presents People Pleaser. Initially rising to prominence in Australia as a drummer in the fields of jazz and improvised music, Guthrie later turned increasingly toward electronics and amplified percussion, developing an idiosyncratic style of electroacoustic performance characterized by shimmering metallic textures, rapid-fire textural transformations, and aggressively high volume. Guthrie has since returned to the drum kit in both solo and collaborative work, pushing at the limits of his formidable technical abilities as a player in the free jazz tradition and working variations on short rhythmic units into an endless flow of non-metered pulse. Although drawing on many aspects of Guthrie's past work, People Pleaser stands alone in his catalog. Working intuitively over a period of three weeks, Guthrie crafted a suite of song-length pieces that combine his drumming with electronics, field recordings, and sampled detritus. Inspired by the rough-and-ready sampling style of producers like the RZA, J Dilla, and Knxwledge, and by the endless possibilities of musique concrète, People Pleaser uses a highly divergent array of sound sources, building pieces from drum and percussion tracks left over from other projects, audio ripped from skate videos, noise electronics, fragments of a police interrogation, and anything else ready to hand. Guthrie's unique rhythmic sensibility is the thread drawing all these elements together, his drum performances propulsively rhythmic yet insistently irregular in a way that sometimes brings to mind the uniquely open rhythmic space carved out by early Weather Report and other classic fusion. Drawing together manifold influences in an entirely sui generis way, People Pleaser is a raw, exciting, and surprisingly accessible peek into the laboratory of a unique sensibility. Designed by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, August 2016.
2017 repress. "Director approved artwork. Sleeve notes By Angelo Badalamenti . Vinyl re-master by Tal Miller. Laquers cut by David Cheppa at Plush Vinyl. 180G damn fine coffee colour vinyl. 425gsm Gatefold sleeve housed inside a bespoke white die cut outer jacket with white spot varnish finish, complete with obi strip. 'I'm glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I'm happy it will get a fresh listen.' - Angelo Badalamenti 2016"
Double LP version. In the midst of a busy year, full of wildly-varied accomplishments, David Lieske (aka Carsten Jost) presents Perishable Tactics, his first full-length album since 2001's You Don't Need A Weatherman To Know Which Way The Wind Blows. Since his last full-length, he's kept busy curating countless releases on Dial, the label he co-runs with Peter "Lawrence" Kersten, which celebrated a 15 year anniversary with an all-encompassing various artists compilation, he has released a gallery-edition album of his black ambient collaboration Misanthrope CA with Robert Kulisek, Deathbridge (DIAL 037LP, 2016), and he launched a new magazine project (also with Kulisek) named after the speed of light (i.e. 299792458m/s). Out of all of the Dial house and techno artists, Carsten Jost has always represented the most precise brand of exquisitely doom-laden house, laced with equally strong doses of melancholy and beauty. On Perishable Tactics, Lieske runs through his distinctively stealthy, low-slung beat-"mospheres", leaning towards a decidedly low-lit and sultry space, but mixed with a fresh, gently arcing feeling of romance and possibly love. Tellingly, he's seen it fit to include 2007's "Love", originally from a 2007 split release with Efdemin. But while "Love" represents a yearning towards a place where love might reside, the remaining tracks seem to represent a place where love actually exists. This feeling is woven into his deep, medium tempo, Detroit-inflected house rhythms, accented with crystalline keys, disembodied voices at times, and gently soaring strings. While anger may be less in the forefront here it is important to notice that these tracks are ripe with the balance of joy and unease inherent in house. There is definitely a newfound languid nature here that feels particularly like a moment shared by two (perhaps many), but the atmosphere still remains decidedly pensive. "Ambush", with its strolling beat, moody, yet sweet chords and chilling atmosphere, which is eventually joined by thunder cracking a safe-distance away. Of course diehard fans will find satisfaction knowing that Lieske's delectable angst hasn't completely abated. The title track takes a disarmingly peaceful setting and rolls a heavy fog over it to herald a sure-to-arrive fate that awaits the listener. But with "Dawn Patrol", the whispering hi-hat and gently clanking rhythm, offset by rolling strings, marries the old and new Carsten Jost most successfully. Dense atmospheres, bookended by tracks by Misanthrope CA, make for a perfectly foreboding, elegant, and deliciously dark album by Carsten Jost.
LP version. Gatefold sleeve. Hopeton Overton Brown, aka Scientist, is a true legend. He took dub reggae to a completely different level. Trained and mentored by the late, great, lamented King Tubby, he blew the scene into smithereens with his knowledge, skill and complete understanding of the mixing desk. His new album, The Untouchable, is a really great collaboration with some of the best artists of the international reggae scene: Tippa Irie, Rod Taylor, Sabrina Pallini, Da Real Storm, Dubiterian, Ilhame Paris, Jacin, Kelli Love. Scientist's The Untouchable is a concept of reintroducing rhythms produced by Bunny Lee from the '70s and some rhythms produce by The Scientist from the '80s, by introducing some new school artists alongside the old school to preserve the power of dub reggae music. No matter where you are, this music has the power to cross borders, to soothe your heart and soul and make you feel alive.
Those Shocking, Shaking Days: Indonesian Hard, Psychedelic, Progressive Rock and Funk: 1970-1978 3LP
Tearz/Verbal Intercourse 7"
The Dominatrix Sleeps Tonight LP
Hello Jesus/High Enough 7"
Ja - Nein - Vielleicht Kommt Sehr Gut: A Selection Of Electronic Beats 1980-82 CD
Deathward, To The Womb CD
The Spirals of Great Harm 2CD
King of the Delta Blues: The Complete Recordings 3LP BOX
Rose's Cantina Atlanta '79 CD
Domestic Exile Collected Works 82-86 LP
Lucky Boy (2017 Edition) 2LP+CD
Transexual/Patrick122 (2017 Edition) 12"
Access All Arenas (2017 Edition) 2LP+CD
Ross Ross Ross (2017 Edition) 12"
Ed Rec Vol. 2 (2017 Edition) 2LP+CD
Rainbow Man (2017 Edition) 12"
Lucky Girl EP (2017 Edition) 12"
D.A.N.C.E. Remixes (2017 Edition) 12"
Baby I'm Yours (2017 Edition) 12"
A Script For Machine Synthesis CD
Descendants EP (feat. Juan Atkins & Tresillo Remixes) 12"
Dear Limmertz/Maracana 12"
Collected Works 1978-2016 LP
N.O. Hits At All Vol. 1 CD
N.O. Hits At All Vol. 1 LP
N.O. Hits At All Vol. 1 (Red Vinyl) LP
Blend, Shake, Swallow (Green Vinyl) LP
The Viking of Sixth Avenue 2LP
Africa Boogaloo: The Latinization Of West Africa 2LP
Ins Offene: Klaviermusik der Moderne/Piano Music of Modern Age CD
String Quartets Nos. 4 & 5 CD/SACD
Buried Alive!! Demented Teenage Fuzz From Down Under 1965-1970 6CD BOX
Nuits D'ete Avec Naima Samin LP
Unalloyed, Unlicensed, All Night! 12"
Invocation And Ritual Dance Of My Demon Twin CD
Live At The Bottom Line '74 CD
Exotic Blues & Rhythm Vol. 5 + 6 CD
Exotic Blues & Rhythm Vol. 7 + 8 CD
Roma Violenta (Color Vinyl) 2LP
La Plus Belle Du Monde LP
The Early Years 1927-1933 LP
The Young Big Bill Broonzy LP
Do That Guitar Rag 1928-1935 LP
Praise God I'm Satisfied LP
Sweeter As The Years Go By LP