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viewing 1 To 25 of 45 items
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LP
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AA 025LP
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2024 restock. Reissue of this 1981 release, featuring arrangements from Charles Reid played by Sly Dunbar (drums), Robbie Shakespeare (bass guitar), Melodice Gladdy (piano), and others.
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5LP BOX
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NMN 083BOX
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"On the occasion of Walter Marchetti's solo exhibition at 7022 Art Space in Milano, Alga Marghen presents the new edition, limited to 80 numbered copies, of Il divano dell'orecchio, a 5LP box set including La caccia, In terram utopicam, Per la sete dell'orecchio, Natura morta, and Vandalia. LP1, La caccia, includes the same materials as the original 1974 Cramps LP. The recording of La Caccia, one of the most radical in the neo-avantgarde panorama for 35 years, is divided in two tracks: 'versione all'aria aperta' and 'versione per uno spazio chiuso.' The sound is generated by hunting calls for birds and other animals. According to Steven Stapleton, this is one of the best records ever published. The new LP sleeve reproduces the Cramps original LP layout. It also includes an insert reproducing scores, photos of both the 1965 ZAJ performances and of Marchetti recording La caccia. A second color insert presents the composer recording La caccia as well as a graphic by Gianni Emilio Simonetti. In terram utopicam includes the same materials as the original 1978 Cramps LP, or 'J'aimerais jouer avec un piano qui aurait une grosse queue' (1974/75) as well as the estreme electronic pieces 'Adversus' (Home-made electric music) (1966) and 'Osmanthus fragrans' (Home-made electric music) (1973). LP3 includes 'Per la sete dell'orecchio' (1981), previously privately issued on the LP with the same title and 'Song for John Cage' (1985), never available on vinyl before. The LP sleeve reproduces the 'Song for John Cage' score. LP4 includes 'Natura morta' (1980), never available on vinyl before. A very simple sequence of piano accidents, according to Robert Ashley one of the most beautiful piano music ever recorded. The LP sleeve reproduces a photo of the performance at Milanopoesia in 1988, as well as Marchetti's text titled 'In my music.' The full color insert reproduces a photo of the 'Natura morta' installation. LP5, titled Vandalia, includes 'Perpetuum mobile' (1981) and 'Le secche del delirio' (1989). Both pieces were never available on vinyl before. With 'Vandalia' Walter Marchetti is focusing his concrete and radical themes. The LP sleeve reproduces a photo of the 'Perpetuum mobile' performance at Musicalia in 1981. The full color insert reproduces the original 'Vandalia' layout. This edition of Il divano dell'orecchio also includes the book by Walter Marchetti titled De musica inversa, an instruction manual of both theory and practice for the proper and improper use of music. The 180-page book is published in both English and Italian."
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TES 178LP
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On this album, Smegma was: WhateverWoman (Amy, Amazon Bambi), Chucko-Fats (D.K.), The Quackback Kid (Dennis Duck), Ju Suk Reet Meate with Reed Burns, Richard Wagner, and Danton Dodge. At the end of October 1973, Ricky Reets Hubba-Hubba Band was disbanded. It had been decided that what was needed was "a band without musicians" and many wild experimental jam sessions took place. Finally on November 23, a particularly inspired jam was named "Cat Cheese" and the band Smegma was born. Although they had only been playing music together (or at all) for a few months, they decided to record a full length "live in the studio" Christmas album that included three original songs and an Elvis Presley cover. Budding sound engineer Mike Lastra offered them their first studio recording session in a garage in San Diego, and after a few rehearsals every track was recorded in one take and history was made. They wanted to do some old fashioned songs so they asked two willing "musicians," Reed Burns and Richard Wagner, to help, and since only four Smegma members could make the session "Danny" Danton Dodge (14 years old) was recruited as well. Of course, at the time only two or three copies on cassette were ever dubbed. The "Ace Of Space" received one and promptly became the first person to join the group, but now 50 years later this album is finally made available to public for the first time!
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BS 092LP
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Despite their Michigan roots, with their hearts anchored in the golden age of 1970s German Krautrock, Fling ii celebrate the sound of that sensational season of experimentation. In the chords of the band dwell the typical motorik style of Neu, the percussive obsessions of Can, as much as the pulsing, hypnotic electronic textures of Cluster and Kraftwerk. The absolute protagonist of this adventure back in time is the legendary Boss Super Phaser PH-2, the dual-circuit modulation pedal that shines through the entire development of all the tracks; it's the main demiurge of deep resonances, of impulsive intergalactic excursions, of dust and mists in perpetual motion. The sound is as dreamy and cosmic as ever, revealing such instrumental rigor in which the strongly emotional blend of the original sources of inspiration finds a perfect balance between rhythm and dynamics.
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BS 093LP
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On the same path as Baraka, Klaus Wiese (Popol Vuh) continues his intimate spiritual journey into healing and cosmic drone music. Like its predecessor, this work originally appeared on tape for Aquamarin Verlag (1982). "Sabiya" means bright, shining, an oriental wind that suggests feminine power; "Sabiha" is therefore she who manifests beauty and grace. "Shaheena" is indicative of gentle and soft, while "Shahira" embodies and represents the essence of recognition and visibility. Absorbed in absolute state of contemplation, Wiese plays harp, tambura and harmonium in a very essential and circular minimal way, focusing on the stillness of their pure harmonics. The glorious, triumphant sweep of this luminous sound thus seems to evoke and suggest these precise concepts, tactile and visual emotional drops, swirls of impalpable bliss, revelatory of an ethereal and infinite astral dimensional level.
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BYG 332LP
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2024 restock. 32nd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "Avant-garde jazz drummer Sunny Murray was a major player in the experimental jazz community throughout the 1960s. After three years as a member of Albert Ayler's band (1964-1967), Murray traveled to France where, after releasing two LPs on the BYG label, he recorded An Even Break, (recorded on November 22, 1969) for Affinity. Although his first release for the Affinity label, this was Murray's third release of the year! Featuring Byard Lancaster, Malachi Favors and Kenneth Terroade."
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LP
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CT 036LP
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2024 restock. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."
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2LP
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CTLP 1047LP
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Here for the first time from Clock Tower Records is a collection of gems brought back from the '70s: Augustus Pablo's Yard Style Melodica Songs. All tracks produced by Brad Osbourne in the '70s, some of which were only released on 7". Featuring Robert Shakespeare and Aston "Family Man" Barret (bass), Earl "Chinna" Smith (guitar), Carlton Barret (drums), Augustus Pablo (organ, piano, and clarinet), Richard Hall (tenor sax), Bobby Ellis (trumpet), and Vincent Gordon (trombone). Produced by Brad Osborne. Includes poster.
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LP
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CPT 646LP
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Captivating, hypnotic, and highly energetic! Prepared -- a free-spirited Munich-based trio in a chamber music line-up that instinctively awakens dance impulses and guides the listener into a trance-like sound space. A pianist who hammers, taps and plucks incessantly on the grand piano. A clarinetist who plays more bass than clarinet in the depths of his bass clarinet. And a drummer who, like a good record, goes on and on, constantly spinning the grooves in circles. Three Munich jazz musicians, united in their contrasts. Where one plays Argentinian tango with Quadro Nuevo, the other plays "folklore-free folk music" with Dreiviertelblut and the third plays German hip-hop with Moop Mama, in their new project Prepared they merge cyclical motifs and cleverly layered patterns in minimalist yet highly virtuoso compositions creating a mesmerizing Gesamtkunstwerk. It's as if Steve Reich, Jonny Greenwood, Nik Bärtsch, and Dawn of Midi had been thrown into a pot. For a "state-of-the-art" immersive music production, the music was tracked "live" in one room without any overdubs. This album has been recorded using high-class 3D recording and miking techniques for Dolby Atmos and was mixed and mastered by highly acclaimed sound engineers. Recorded by Kseniya Kawko at Kyberg Studio, Munich, mixed by Kseniya Kawko at MSM Studio, Munich and mastered by Christoph Stickel at csmastering, Vienna.
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DS 046LP
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Die Schachtel returns to their long-standing dedication to the historical, Italian avant-garde with Musica Elettronica 1969/1971 allo Studio di Fonologia della RAI di Milano, the first ever release dedicated to the visionary electronic and electroacoustic composer Angelo Paccagnini. Containing some of the most potent and emotive experimental music ever laid to tape -- imbued with the political tensions of the moment -- this collection takes great leaps toward illuminating the brilliant output of one of Italy's most remarkable and neglected avant-garde, electronic and electroacoustic composers of the 20th Century. The first ever release dedicated to this profoundly important figure in the history of European electronic music has been fully restored and mastered by Andrea Marutti from the original tapes, housed in a matt silver cover with silver foil design, specially created by Bruno Stucchi/dinamomilano. It contains some of the most singular and emotive electronic and electroacoustic music ever recorded, which is presented to wide audiences for the very first time. A student of Bruno Bettinelli at the Milan Conservatory, and a collaborator of Bruno Maderna and Luciano Berio, Angelo Paccagnini (1930-1999) remains one of the most unjustifiably obscure figures who emerged within Italy's early Electronic Music scene during the 1950s. While Paccagnini worked with a wide range of instrumentation and sound sources over the course of his career, among the most engrossing of all his works are a series of electronic and electroacoustic compositions created during his early years as director of the Studio di Fonologia Musicale, during the late 1960s and early 1970s, four of which are comprised for the first time across the length of this album. The LP comprises three works; "Flou II," composed in 1971 for tape, piano, improvised percussion, and orchestral groups; "Partner," composed in 1969 for female voice and electronic sounds; and "Underground," composed in 1971 for four synthesizers. Unquestionably drawing on the political ferment of the era during which they were created, each is astoundingly tense in their structural arrangement and tonal and dissonant relationships, culminating as some of the most emotive avant-garde music created anywhere during that period. Historically significant in countless ways, this release takes huge leaps to illuminating the brilliant output of one of Italy's most remarkable and neglected avant-garde, electronic and electroacoustic composers of the 20th Century. 200 copies featuring a deluxe cover with handmade silver foil printed on 450g paper. Includes a 30x30cm double-sided insert with detailed notes, pictures and more.
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LP
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DSDM 008LP
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LP, one-time edition of 250 copies, pressed to 180g black vinyl and housed in a pro-printed jacket contained in a silk-screened PVC sleeve. I Hate All The Words by Luca Scarabelli and Michele Lombardelli's Untitled Noise, the eighth instalment in Die Schachtel's celebrated Decay Music series, is a concept album composed of three tracks designed to explore the remote and hidden depths of psyche: "Misery," the awareness; "The Time," the suspension of disbelief; and "Heaven," the existential atonement through detachment. The sounds and the voice proceed alternately, overlapping, where each, in its progression, asserts itself autonomously -- entities unto themselves, presences in dialogue at the edge of possibility. At times primitive and obsessive, they emerge as reminiscences of the unconscious and emotions, which coincide with unconscious, altered, and unexpected lowness. Sound and voice in unison are a burst of a great energy. Noise-glitch sound patterns, distortions, and objects set into vibration in the "soundscape" are mainly performed by Michele Lombardelli. The lyrics, interpreted by Erica Bazzeghini, were written by Luca Scarabelli, drawing inspiration from a personal experience as well as his art. In Luca's reflection, I Hate All The Words is a path to test the truth, the mystery and the meaning of words. "Self-reflection has been an intimate journey, often conducted in the seclusion, away from the chaos of external reality. In the lyrics it is mirrored in three distinct stages: self-awareness marked by 'Misery,' the suspension of disbelief symbolized by the passage of 'Time,' a moment of misgiving, and finally, recovery through detachment, in the track 'Heaven.' In my thoughts, I see the works of poets like T.S. Eliot, Georg Trakl, and Sylvia Plath, who explored personal pain and transformation." In I Hate All The Words all the "colors" have become dull. Fragments of thoughts and a sonic exploration change the perception of the present reality, evoking the ghosts of the past, in a shattered time, with the weight of whispered words.
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LP
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ZEIT 018LP
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Furthering the passionate exploration of cinema that has guided her two previous LPs -- 2017's Fassbinder Wunderkammer and 2020's I Should Have Been a Gardener -- the Milanese guitarist/composer, Alessandra Novaga, returns to Die Schachtel with The Artistic Image Is Always a Miracle, two sides of shimmering, tense compositions freely inspired by the life and work of the Russian director Andrej Tarkovsky and the music of Johann Sebastian Bach. Classically trained at the Musik Akademie in Basel, Switzerland, over the last decade Alessandra Novaga has emerged as one of the leading figures within northern Italy's thriving new, experimental, and improvised music scene. Remarkably ambitious and forward thinking, her approach to the guitar embarks upon a relentless deconstruction and rethinking of her instrument's unique properties through distinct applications of structure, resonance, space, and tone, creating in a deeply personal and emotive music, seeking narrative and meaning within the abstractions of sound. The seeds of The Artistic Image Is Always a Miracle can be traced to a conversation that Novaga had with Alan Licht relating to the connections between music and cinema, which led her to consider Andrej Tarkovsky's use of Bach's music within a symbiotic framework: how the music illuminates the imagism of the films, and the film illuminates new dimensions of the music. Slowly developing over the subsequent years, the resulting album comprises six individual works, some of which draw directly upon pieces of Bach's music that Tarkovsky used in his films -- specifically "Erbarme dich, Mein Gott," "Das alte Jahr vergangen ist," and "Ich ruf zu dir, Herr Jesu Christ" -- while others draw upon the sensibilities and moods evoked in the imagination by the director's films. Encountering Novaga moving into fairly uncharted waters, three of the album's pieces incorporate the human voice, including that of the poet Arsenij Tarkovsky, the director's father. Roughly alternating between solo excursions on guitar and bristling electroacoustic pieces, over the course of the album's two sides Novaga weaves one of her most abstract and ambitious bodies of recordings to date, shifting between the complex tonal mediations generated by the six strings of her instrument, and phycological densities activated by the expanded pallet of sonority made possible by the tactics and approaches of musique concrète. The Artistic Image Is Always a Miracle is available on as a limited edition of 300 dark turquoise vinyl LPs. The LP, designed by Bruno Stucchi/dinamomilano, comes with an eight-page insert illuminated by Alessandra's text as well as the lovely and intense photographs of Matilde Piazzi.
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LP
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FTR 236LP
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2024 repress! Gary Wilson's monumental 1977 LP reissued with the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision -- a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs -- Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!
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1FFJT176
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Alga Marghen/Formalibera present the first of a series of released documenting the work of Danish composer and multi-instrumentalist John Tchicai. This new LP features two previously unpublished recordings, "Beautiful United Harmony Happening" with Don Cherry and "Education Of An Amphibian" with Sahib Shihab. Tchicai returned to his native Denmark in July 1966 after spending a remarkable four years in New York City. In that short span, he helped redefine and expand the relationship between soloing, collective improvisation, and composition in small free jazz ensembles such as the New York Art Quartet, the New York Contemporary Five, and on albums such as New York Eye and Ear Control with Albert Ayler and John Coltrane's Ascension. It certainly counts as one of the most fertile periods in any artist's career. Yet when he returned to Europe, Tchicai turned his attention primarily (although not exclusively) to large ensemble music. The breakthroughs made in New York were not lost, but transferred to a large group context, opening up further avenues of exploration. "The Education of an Amphibian" by the John Tchicai Octet represents a first try at "Komponist Udøver Ensemble," or "Composing Improvisers Orchestra," an approach that further blurred boundaries between improvisation and composition. Recorded in October 1966, the piece presents Tchicai as composer and guiding presence; an organizer of sounds; and an explorer of a widening musical vocabulary drawn from contemporary classical and African influences. "Beautiful United Harmony Happening" is something different -- an opportunity to embrace new modes of interdisciplinary performance. From the beginning of his return to Denmark, Tchicai sought out not only musicians, but artists in all artforms and began to organize happenings. Although rarely noted, ideas linked to Fluxus, performance art, and happenings were a large influence of Tchicai's thinking at this time. All these related movements sought to blur or erase boundaries between media and set up juxtapositions between styles and artforms that disrupted received ideas of "high" and "low" art. Participation by non-artists introduced elements that challenged ideas about virtuosity and legitimate expression. Random elements were embraced, and non-Western music and concepts were welcome. This performance, heard here in an excerpt from the full two-hour performance, is very much in this vein. It is one of the last performances involving members of Cadentia Nova Danica, but they are only one component (and hardly the focus) of an ensemble that included a five-member chorus of disciples of the Swami Narayanananda (Tchicai lived at the yogi's ashram and had organized the choir himself), the Diane Black Dance Theatre, and trumpeter Don Cherry. Includes insert.
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2FFCND177
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This revelatory album positions John Tchicai's large ensemble, Cadentia Nova Danica (CND), in the broad context of international new music activity. All previous releases by the group presented them as a free jazz unit. There were only three -- their self-titled release on Polydor (1968); Afrodisiaca (MPS, 1969); and Live at Jazzhus Montmartre (Storyville), recorded in 1967 but not released until 2016. They are all on jazz labels, so the bias is perhaps understandable. CND was a great free jazz group, to be sure. But the band and its leader were willing to experiment with a wide range of musical developments outside of jazz and incorporate them into their music. This LP encompasses a collaboration with classical composer Svend Erik Werner, an experiment with taped sound collage, and a remarkable sui generis composition by Tchicai. With the addition of this album to CND's discography, a broader and deeper portrait of the band's courageous spirit begins to emerge. Tchicai formed the group just after returning to his native Denmark in 1966 after four highly productive years in New York. Upon his return to Copenhagen, he immediately sought out musicians with whom he could form a band. He was soon working with an ensemble that included trumpeter Hugh Steinmetz and altoist Karsten Vogel. By late 1966, they became Cadentia Nova Danica (New Danish Cadence). They made their Danish debut at Café Montmartre and quickly developed a reputation as one of the most creative bands in Europe. They remained together until 1971, when Tchicai entered the ashram of Swami Narayanananda for an extended period of meditation during which he didn't publicly perform. The cryptically, if absurdly, titled "Mc Gub Gub, (I-VIII)" is a stunning example of the creative ways Tchicai used ostinatos to structure his compositions and provide a supporting trellis for improvisation. Recorded during a Danish Avantgarde Jazz concert that also included the Contemporary Jazz Quintet, the piece opens with the band loosely repeating a phrase. There's a constant interchange between composition and improvisation. The written passages also function as transitions between improvised sections, in one case setting up a piano solo whose fluidity contrasts starkly with the angular writing. "Ode to Skt. John" is contemporary in form and outlook but based on methods taken from Gregorian music. It also makes room for improvisation from members of Cadentia Nova Danica. Although vividly contrasting, the two modes of musicmaking speak to one another. The alto saxophone and trumpet duet has a songlike, vocal quality in keeping with the spirit, if not the form, of Gregorian music. "Pladepip," Tchicai's foray into musique concréte, another modern classical genre, is unlike anything else in Tchicai's recorded canon. Two full-band improvisations bookend a remarkable audio tape created by Tchicai. Includes insert.
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KWEST 1967LP
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Limited 2024 restock. "Interstellar Overdrive" is an instrumental composition written in 1966 and is on Pink Floyd's 1967 debut album, The Piper at the Gates of Dawn, clocking in at almost ten minutes in length. "Interstellar Overdrive" was one of the first psychedelic instrumental improvisations ever recorded by a rock band. It was seen as Pink Floyd's first foray into space rock. It has also been described as an experimental and psychedelic as well as an example of proto-prog. Waters once called the song "an abstract piece". Not connected to pop music, a long improvisatory quality. The stereo version of the song has an organ moving from speaker to speaker, the effect is not on the mono version of the song, where it gains extra organ and guitar sounds, in fact the organ is very prominent during the first minute of the mono version-along with some special effects-but inaudible in the stereo mix. You will find both mono and stereo versions off the LP plus a rare edit (French only released at the time) and a long freak out version that clocks in at 16:49.
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2LP
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GET 52721LP
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2024 repress. "The critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, 'They Reminisce Over You (T.R.O.Y.)', a dedication to their deceased friend; 'Trouble T-Roy', which went on to become not only their signature hit, but also one of Hip Hop's all-time great songs. The album is propelled forward by Rock's quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth's liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece. Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source's 100 Greatest Rap Albums of all time."
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GET 52724LP
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2024 repress, clear vinyl. "'We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.' So reads CL Smooth's album dedication in the liners to Pete Rock & CL's underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992's Mecca & The Soul Brother and the album's emotional smash single 'They Reminisce Over You (T.R.O.Y.).' Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature -- yet still righteous -- wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo's '90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock's pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout."
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HPS 322CD
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"Bob Balch here. This second Slower record Rage And Ruin consists of Amy Tung/Barryhouse (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover Slayer's EP Haunting The Chapel in its entirety. We started with 'Chemical Warfare' then went on to 'Haunting The Chapel' but once we got to 'Captor Of Sin' we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is Rage And Ruin. Two sides with Slayer songs in the middle bookended by Slower originals. We are super proud of this record and can't wait for you to hear it! Mixed and mastered by the very talented Esben Willems. Recorded at our individual studios." Also available on LP (HPS 322LP), orange color vinyl (HPS 322LTD-LP), and white/orange/green color vinyl (HPS 322ULTRA-LP)
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HPS 324CD
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Brand new reissue of the Nightstalker legendary debut album Side FX. Nightstalker's debut album, recorded in 1993 and released in 1994, captures the raw, rebellious energy of the era, blending gritty, Motörhead-inspired heaviness with infectious grooves. Emerging from Greece during the height of grunge and alternative music, the band delivers a sound that's unapologetically rough and driven by a heavy, rhythmic pulse. Their music channeled the raw power of '90s rock while Nightstalker carved out their own space with their hypnotic riffs, groovy basslines, and a dark, rebellious spirit. A bold first step, this album sets the tone for Nightstalker's journey. Also available on black vinyl (HPS 324LP), blue color vinyl (HPS 324LTD-LP), and splatter color vinyl (HPS 324ULTRA-LP).
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7"
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HOL 134EP
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Two pieces made with dismantled toy pianos, wind-up toys, popping candy, bow, toy spring reverb, Buddha Machine, Tamayura bell, Japanese iron wind chimes, electronics, and voice. Percussive rhythms, hypnotic sounds and Cantonese words used like magic formulas. Somewhere between minimalism and gamelan, but still unmistakably unique. Recorded and mixed at Outlau'd Studio, Brussels, in 2020 (Chinese Year of the Rat) during pandemic, and finalized in 2021 (Chinese Year of the Ox). Mastered by Giuseppe Ielasi. Cover illustration by Eleusi.
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2LP
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HOL 138LP
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"Towards the end of the 1970s, a film about me and my work was made in Kabul for the South German TV program. The director was Arpad Bondy. In order to find a venue for my music that is typical for Afghanistan, it was agreed that my 'percussion environment,' a tubular cube of 2x2x2 meters including the associated instruments, would be transported on a barren, stony ridge in the Hindukush mountains. The people called the place 'Maidan,' which means nothing but 'place.' While a couple of men dragged the frame pipes and the instruments up the hill, I decided to carry my large Wuhan gong (100 cm diameter) up the mountain, in a kind of ritual. Michael Ranta sent me this gong from Wuhan/China to Kabul. With slow and careful steps, carrying the heavy gong like an umbrella on my head, I walked over the difficult rocky terrain without a path up. Suddenly a snake about two meters long came out of the rocks towards me and hissed aggressively at me... As I later discovered, it was a very venomous snake... I had to bring myself to kill the beautiful animal... I decided to name my solo performance Requiem For The Snake Of Maidan... While I was playing I only had one musician with me: the wind. I hung my metallophones on the linkage so that the wind could touch them and create sounds. The recording captured a few parts where I didn't have to lift a finger and the wind did everything that was necessary. The room was a wide landscape without any echo. If an echo can be heard in the recording, it is the reverberation from the big gong. Only a few noises came, apart from the wind, from outside... The big gong and the boo chals (Tibetan cymbals) produced a whole series of overtones. The string instruments, the metallo- and lithophones dominate the recording. In addition to the acoustic environment of my instruments, in some parts of my improvisation I used a battery-powered tape recorder (Uher 4400 report stereo IC) with a pre-recorded feeding tape that I had pre-recorded before alone or together with Michael Ranta in Kabul. The stones of the lithophone were collected by Ranta and myself in the valley of Goldara around an old collapsed Buddhist stupa. Almost each of the hundred stone plate we had lifted was ringing." --Hartmut Geerken
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LP
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HOL 142LP
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Edition of 500 copies. Nancy Mounir's debut album, Nozhet El Nofous, is a remarkable communion with ghosts. Moody, hypnotic, and sneakily catchy, the album -- whose title means "Promenade of the Souls" in Arabic -- explores microtonality, non-metered rhythms, and bold vulnerability through a musical dialogue between Mounir's own arrangements and the sounds of archival recordings of once-famed singers from Egypt at the turn of the 20th century. Adding her own ambient arrangements over voices haunted with passion and desire as she creates a sound that is warmly familiar but utterly new. On the album, Mounir slips into the gaps left by the lost frequencies of the aging recordings, finding space for counterpoint and harmony in a traditional sound built on monophony. Elegant melodies unfold in measured gestures as Mounir -- who plays most of the instruments herself -- revels in the plaintive intonations and brash lyrics of the departed singers. With layers enmeshed together, it's at times hard to pin down when the past ends and the present begins, but beneath it all is a liberating attitude of defiance that feels timeless. Nozhet El Nofous is brilliant in the way it explores the techniques and perspectives of a more freewheeling time period in Arabic music, before Arabic maqam (modal systems) and other musical foundations were standardized by the Middle East's cultural power brokers in the early 1930s. As she summons a rich, atmospheric landscape of tone and texture, Mounir engages an older generation of musical rebels in a creative dialogue across time and space - and the results are stunning in their ambition and beauty. Mixed by Adham Zidan. Mastered by Heba Kadry. Remastered for vinyl by Matt Bordin at Outside Inside Studio. Artwork by Egyptian filmmaker and photographer Ahmad Abdalla, with original typography and design by Salma Shamel. Lyrics translation by Katharine Halls. Includes an eight-page booklet with lyrics in English and Arabic. Featuring Naima El Masreya, Saleh Abdel Hay, Abdel Latif El Banna, Mounira El Mahdeya, Hayat Sabry, Fatma Serry, and Zaki Mourad.
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LP
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HOL 145LP
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Edition of 100 copies. Acchiappashpirt is the sound and video, poetry/poetronic collaboration between the Albanian poet and vocalist Jonida Prifti and the Italian sound artist Stefano Di Trapani. Ninulla was conceived as a suite of lullabies that were written and sung for, with, and by their son Arion. An album divided between conscious and unconscious recordings, where dream and wake merge. Despite the obvious gentle and holistic conception of Ninulla, the album is a deeply experimental excursion into sound practice, entirely rethinking the notion of what a lullaby might be. Drenched in a deep sense of atmosphere and reverberance, with drifting, often processed vocals floating and weaving their way through simple and seductive melodies, haunting environmental images and textures, and flirtations with playful left-field pop, the album has the unavoidable effect of catapulting you into the joyous, elemental nature of music making at its purest form, while also throwing a wrench in the cogs every step of the way. Composed and recorded by Jonida Prifti and Stefano Di Trapani. Produced by Antonio Giannatonio and Acchiappashpirt. Edited by Antonio Giannatonio. Mastered by Giuseppe Ielasi. Cover artwork by Re Delle Aringhe. Includes the poem "Ai miei figli e ai miei nipoti" by Dania De Vincenzi.
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12"
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YAMH 001EP
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When Demon released You Are My High at the end of 1999, all hell broke loose. Nominated at the Victoires and MTV Awards, the track was on the lips of every Frenchman and the CSA. 25 years later, the "You," inseparable from the French Touch, is more beautiful than ever. This release celebrates its anniversary on vinyl in a collector's edition. "You Are My High" explodes thanks to its clip, its French kiss in a fixed shot of three minutes, which will earn it a brief passage to the CSA, who will try to censor it. before finally running H24 on television. "You," as its creator liked to call it, left its mark on his era, inspiring a new generation of artists: Agar Agar, DJ Snake, Central Cee, Disclosure x Flume, Jean Paul Gaultier. Featuring title text etched on side B.
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