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LP
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12XU 158LP
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"Four years after his rock juggernaut Puritan, Chris Brokaw delivers Ghost Ship, a landscape meditation (at sea) for vocals and electric guitars. You need to listen to Ghost Ship from beginning to end. Stand too close to the speaker holding a plastic cup of seltzer with lime and really crank it up. If you have a purple light bulb, screw that into the ceiling fixture, and it will be like seeing Brokaw play the kind of live Brokaw set that puts you on the bottom of the ocean, standing under a transmission tower with a semicircle of effects pedals at its feet. If this sounds vaporous, consider the conversational chords of '8 Or 9 Things', the sharply descending final notes of 'Profile', or the extinction burst of 'Anything Anymore'. Think of echolocation: sonics defining space and distance, time elapsing, the disappearance of something -- maybe drugs or a doomed love, possibly in the same form. Chris Brokaw is perhaps best known for his work with the bands Codeine and Come. He has released over two dozen solo albums of instrumental and vocal music since 2002, and played in The New Year, Pullman, Charnel Ground and the Lemonheads. He has scored nine films, most recently Crookedfinger by Julia Halperin and Jason Cortlund, and written for dance and arts associations, most recently Lowlands with Rimi/Imir in Stavangar, Norway. He has recorded and performed as an accompanist to Thurston Moore, Christina Rosenvinge, Rhys Chatham, Jennifer O'Connor, Steve Wynn, and GG Allin. Currently he plays in Lupa Citta (with Sarah Black and Jenn Gori), the Martha's Vineyard Ferries (with Bob Weston and Elisha Wiesner) and the Chris Brokaw Rock Band (with Clint Conley and Luther Gray). He continues to perform periodically with Codeine and Come. Recorded and mixed by Paul Kolderie at Wool\y Mammoth MA and Camp St. NY October and November 2024."
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2LP
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12XU 162LP
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"So the bad news is, in a fit of pique, I asked Chat GPT (nicely) to compose a one-sheet for the new Shit and Shine double album, Mannheim HBF. The even worse news (yes, even worse than resorting to such tactics) is that the resulting biography is halfway passable and on some levels, superior to the sort of thing being published by what's left of our weekly coupon-shoppers. But for fuck's sake my friends, Craig Clouse did not get to where he is today by settling for halfway passable and neither should you. That Shit and Shine's discography is vast and dizzying is already well established; what's not nearly as established are these recordings being specifically dizzying. I don't know if there's anyone else in modern music as skilled in waltzing around the periphery of so many disparate idioms ('noise,' being one of the least prominent this time around) and somehow, against all odds, tying 'em together in the most intricate of knots. And who doesn't love knots? We all have our favorite ways to experience music that's all-engulfing, but whether your preferred method is thru a stadium sized sound system or ear buds affixed as you've leapt off the tallest building in Bastrop, TX (the Jerry Fay Wilhelm Center for the Performing Arts, since you asked), not for the first time, Shit and Shine is entirely appropriate in either instance, possibly every instance. There are moments where I think this is a club record. The Friars Club, however. Far be it from me to provide guidelines for how and when you take in Mannheim HBF. 'No interruptions,' 'no distractions' are merely suggestions on the label's part, though we cannot be held responsible for what happens if you ignore 'em. Thank you." --12XU Records
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LP
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AF 3801204LP
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"Jupiter Bokondji, an iconic figure from Kinshasa nicknamed the 'Rebel General', offers the world a unique sound where Congolese roots blend with rock, funk and soul influences. With his group Jupiter & Okwess, he unleashes an explosive energy, drawing on the musical richness of his country while forging links between Africa and the world. After winning over international audiences with Hotel Univers, Kin Sonic, and Na Kozonga, here is their fourth album, Ekoya. In this opus, Jupiter invites listeners to reflect: what does this 'ça viendra' mean? Is it a premonition of an inevitable fate, or a certain fatalism? fatalism? By welcoming female voices into its all-male band -- women who are also rebels -- Jupiter upsets expectations. Was it a conscious choice or a twist of fate -- perhaps a bit of both. The album opens with the crowing of a rooster, followed by the haunting voice of Soyi, a Mongo singer discovered in Florent de la Tullaye's documentary Pygmées Blues. With a few words in Lingala, she denounces the ravages of deforestation and the suffering of the indigenous peoples, who are abandoned in the midst of general indifference. Then Mare Advertencia takes the floor to amplify the voices of the women of Chiapas, followed by Flavia Coelho, a friend of the group. In Ekoya, Jupiter tells listeners that 'lightning comes with the wind,' that 'pride goes before ruin' and finally that 'he who laughs last laughs hardest.' These are just some of the images he likes to use to make us think. In 'Congo Blinders,' he discusses the country's unity and internal problems, while Orgullo gives a lesson in humility: 'The rich man refuses the company of the poor; the intelligent man just wants to be listened to; the handsome man wants to be noticed; and the strong man wants to be feared.'"
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UHD/2xBLU-RAY/CD
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AV 176UH
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4K ultra HD. Region code 0. "Before he created Westworld and Jurassic Park, Michael Crichton first blurred the line between science fiction and science fact with his breakout success The Andromeda Strain. Two years after the novel's publication, Robert Wise (The Haunting) directed the film adaptation, a nail-biting blend of clinically-realized docudrama and astonishing sci-fi visuals that ushered in a new subgenre: the 'killer virus' biological thriller. A government satellite crashes outside a small town in New Mexico -- and within minutes, every inhabitant of the town is dead, except for a crying baby and an elderly derelict. The satellite and the two survivors are sent to Wildfire, a top-secret underground laboratory equipped with a nuclear self-destruct mechanism to prevent the spread of infection in case of an outbreak. Realizing that the satellite brought back a lethal organism from another world, a team of government scientists race against the clock to understand the extraterrestrial virus -- codenamed 'Andromeda' -- before it can wipe out all life on the planet. Aided by innovative visual effects by Douglas Trumbull (2001: A Space Odyssey, Silent Running) and an unforgettable avant-garde electronic music score by Gil Melle (The Sentinel), Wise's suspense classic still haunts to this day, and is presented here in a stunning, exclusive new restoration from the original negative."
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12"
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AUS 004EP
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Super-rare, killer disco from late-'70s Australia. Remastered and reissued for the very first time Disco contains all four recordings from the two original and highly sought-after Ralph White 12" singles released in Sydney, 1978.
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12"
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BNS 090EP
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Break New Soil are beyond excited to release new remixes of an absolute classic tune by none other than Aural Float, the legendary collaboration between Pascal FEOS, Gabriel Le Mar, and Alex Azary. Originally released on their debut album Introspectives on the mighty Elektrolux records back in 1995, South Of The Clouds Pt. 2 quickly became the standout track of the longplayer and an absolute fan favorite as it encapsuled the very essence of the no nonsense hypnotic sound of Frankfurt at the time. On the A-Side, label head honcho Gregor Tresher presents an epic 11-minute journey that pays homage to the timeless original while updating it for the modern-day dancefloor. Through layers and layers of subtle percussion lines, Gregor´s remix builds up over time, with bold breakdowns that gives the distinctive melody line time to breathe, only to eventually culminate in bringing the massive beat back to take things to the next sonic level. On the flip, our good friends Extrawelt deliver another outstanding production once again, that has their signature sound written all over it. The boys respectfully incorporate the original melody line, while perfecting their remix by adding their unmistakable trademark sound and sophisticated beat structures.
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LP
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BB 335LP
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2025 restock; LP version. The first part of Hans-Joachim Roedelius's Selbstportrait (Self-Portrait) series was originally released under the title Sanfte Musik on Sky Records in 1979. Now, some forty years later, a new instalment has arrived in the form of an album entitled Wahre Liebe. One of the initiators of the Berlin Zodiak Free Arts Lab in 1967, Roedelius went on to co-found Kluster/Cluster and Harmonia, unleashing a new and free form of music which, with the benefit of hindsight, can be considered a milestone in the historical context of kosmische musik and krautrock. In the late 1970s, Roedelius began to increase his activities as a solo artist, building up an extensive and multifaceted body of work over the ensuing decades. Across this timeline, the Self-Portrait albums represent an intensely personal and noteworthy corpus in their own right. Over the past ten years, the Hamburg-based label Bureau B has reissued numerous Hans-Joachim Roedelius albums, both solo and collaborative efforts, introducing him to a new generation of potential devotees. In 2014, label founder Gunther Buskies approached Roedelius to suggest that he record a new instalment for the Self-Portrait series, using the same instruments which dominated his productions in the late 1970s: a Farfisa organ, drum machine, tape-delay and a Rhodes. Together with Onnen and Wolf Bock, the album Wahre Liebe (True Love) was created. Roedelius explains the process: "The Wahre Liebe album was commissioned by Gunther Buskies, who wanted to know if the elderly Roedelius, armed with vintage tools, was capable of 'beaming back' to his youthful years, reaching into the sonic past of the Self-Portrait series to deliver similarly persuasive results. What better proof could there be that true love, age-old love never dies..." Sure enough, this album successfully and seamlessly connects with its antecedents. Miniatures, improvisations, atmospheric images, and dreamlike introspections of an individualist are articulated in that innate Roedelius language which is at once brittle and as light as a whisper, a pastel ribbon weaving its way softly through the full range of sonic topographies. Hans-Joachim Roedelius is pleased with the outcome: "Roedelius has been granted the opportunity to become intimately acquainted with his own self in order to achieve that of which he is ultimately capable, namely his calling: to follow in the footsteps of his ancestors, to create authentic art, be it music or words, or anything and everything else which fascinates him."
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LP
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BB 350LP
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2025 restock; LP version. Bureau B present a reissue of Conrad Schnitzler's Con, originally released in 1978. Conrad Schnitzler: In the electric garden by Wolfgang Seidel, May 2020: "... Whilst on shore leave in Düsseldorf, Conrad Schnitzler heard about a professor at the School of Art (Kunstschule) who also accepted students into his class without high school diplomas. Conrad Schnitzler became one of them. The spirit of a fundamental new beginning bonded this generation of artists together, with Karlheinz Stockhausen and Gottfried Michael Koenig the most radical proponents. Perhaps it was due to the fact that music had been so corrupted under National Socialist rule, from classical to the Schlager variety. Schnitzler was fascinated by the new sounds he heard on the radio in the evenings. To his ears, they connected the struggle for independence to the planning and precision he had learned as a mechanical engineer. At the same time, he understood that music like this was only possible within an institutional framework to which he had no access. So, he set about creating his own framework. Schnitzler bought his first synthesizer in the early 1970s -- a considerable investment at the time. The introduction of the compact cassette had liberated duplication and distribution from the realm of the record company, but Schnitzler also recognized the creative potential of the medium, beyond its practical functions. He built a 'cassette organ' out of 12 cassette recorders and two cases for his musical collages. Towards the end of the decade, he could be found on the Kurfürstendamm, West Berlin's premier boulevard, cassette recorders slung over his shoulders as his music boomed out of battery-powered loudspeakers . . . Buoyed by the success of Tangerine Dream, Peter Baumann, Schnitzler's successor in the band, established the Paragon Studio. Schnitzler had left after their first LP in the belief that the creative potential of the group had reached its limit, but their friendship endured. Baumann made use of downtime in the studio to pursue his own musical experiments. And then Conrad Schnitzler appeared at the door with a small Korg synthesizer, a sequencer, and his EMS Synthi (a portable model in an attaché case), having transported the whole lot on his delivery bicycle . . . The last record to be completed at Paragon reveals Schnitzler's lighthearted rapprochement with German New Wave (Neue Deutsche Welle) . . . The Paragon Studio era, with sound engineer Will Roper, whose work with Schnitzler gave him the opportunity to demonstrate his skills in tape manipulation, splicing, editing, and looping, came to an end when the studio was sold and Peter Baumann moved to the USA."
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CD
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BB 453CD
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Fluoreszent is the new solo album by Cologne based artist Hans Nieswandt and his third for Hamburg's Bureau B label. Hans Nieswandt is a long standing and highly respected key figure in the music scene of Cologne, of Germany and beyond. As a pioneering DJ since the mid-eighties, as writer and editor for the mighty Spex magazine in the early nineties, and as a music producer, solo and with his group Whirlpool Productions, he helped shape the Sound Of Cologne from the mid-nineties onward. A lot of his musical work at that time took place in the studio owned by legendary band CAN. With his 12-year-running, weekly radio mix show 'Elektronische Melodien' on WDR (the Cologne radio station that built the first studio for electronic music in the 1950s) he suffused generations of listeners with cutting edge electronic music both old and new. Having left Germany to live in Seoul in late 2019, Hans Nieswandt suddenly found a lot of time to check back and immerse himself in all the forms of music that shaped him ever since he was a little glam rock kid in the early seventies -- before becoming a hippie boy, then a punk, then a house head. Now he is all these things rolled into one and the time has come for a proper, new solo album having released mainly collections of remixes, edits and cover versions over the last 20 years. Recorded in 2024 in Seoul, you will find on Fluoreszent ten shiny, fresh, joyous songs taking you to many wonderful places; from Kraut to goth, synth wave to art pop, cosmic to comic -- and all the way to the end of the rainbow. Important contributions came from unexpected sides: legendary German krautrock drummer Wolfgang Seidel gave him permission to use a lot of his beat recordings, a connection was made by Seoul-based German free music pioneer Alfred Harth, (who also took the album cover photo), more drums came from Philipp Janzen of the band Von Spar (who also did the final mix of the album) and the mastering is by Jörg Burger, another living legend of the Cologne electronic music scene. Housed in a cover designed by top illustrator Felix Reidenbach, Fluoreszent marks the happy return of one of Cologne's finest to the international stage.
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LP
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BB 453LP
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LP version. Fluoreszent is the new solo album by Cologne based artist Hans Nieswandt and his third for Hamburg's Bureau B label. Hans Nieswandt is a long standing and highly respected key figure in the music scene of Cologne, of Germany and beyond. As a pioneering DJ since the mid-eighties, as writer and editor for the mighty Spex magazine in the early nineties, and as a music producer, solo and with his group Whirlpool Productions, he helped shape the Sound Of Cologne from the mid-nineties onward. A lot of his musical work at that time took place in the studio owned by legendary band CAN. With his 12-year-running, weekly radio mix show 'Elektronische Melodien' on WDR (the Cologne radio station that built the first studio for electronic music in the 1950s) he suffused generations of listeners with cutting edge electronic music both old and new. Having left Germany to live in Seoul in late 2019, Hans Nieswandt suddenly found a lot of time to check back and immerse himself in all the forms of music that shaped him ever since he was a little glam rock kid in the early seventies -- before becoming a hippie boy, then a punk, then a house head. Now he is all these things rolled into one and the time has come for a proper, new solo album having released mainly collections of remixes, edits and cover versions over the last 20 years. Recorded in 2024 in Seoul, you will find on Fluoreszent ten shiny, fresh, joyous songs taking you to many wonderful places; from Kraut to goth, synth wave to art pop, cosmic to comic -- and all the way to the end of the rainbow. Important contributions came from unexpected sides: legendary German krautrock drummer Wolfgang Seidel gave him permission to use a lot of his beat recordings, a connection was made by Seoul-based German free music pioneer Alfred Harth, (who also took the album cover photo), more drums came from Philipp Janzen of the band Von Spar (who also did the final mix of the album) and the mastering is by Jörg Burger, another living legend of the Cologne electronic music scene. Housed in a cover designed by top illustrator Felix Reidenbach, Fluoreszent marks the happy return of one of Cologne's finest to the international stage.
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LP
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CD 002LP
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2025 restock. Egypt & Lebanon: Cosmic Arab Disco & Searing Dance Floor Bangers 1974-1985 is a monumental introduction to some of the hippest proto-electronic music from the Middle East in the 1970s and 1980s. These are some of the prime cuts that electrified dance clubs throughout the Middle East, from Cairo to Beirut, featuring psychedelic synths and organs, break-neck percussion, and mind-bending beats. The music is a flowering of experimentation with synthesizers, complex electronic flourishes, hard-disco funk, and swirling innovative melodies based on traditional forms. This LP compilation proves some of the most forward-thinking music being made in Arab world was conjured by absorbing everything that radiated from European and American discos and then furthering the dialogue, with sublime results. Features twelve, secret weapon tracks to set ablaze any dancefloor. Features Joseph Nemnom, Iman El Bahr Darwish, Isahn Al Munzer, Mohammed Jamal, Assa'd Khoury With His Oriental Electronic Organ & Band, Ammar El Shariyi, and Farid Atrache.
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LP
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BRED 914LP
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"This is the first time this album has been released on vinyl in this original intended running order, as the original 2003 pressing was pressed with the wrong running order and was never corrected -- until NOW! Released on red yellow vinyl. The subtitle is explained by the fact that the tracks were originally scheduled for release in April 2003 under the title Country on the Click. Promotional copies were sent out and three of the new songs were previewed in the bands 23rd Peel Session, but Mark E Smith was unhappy with the mix and decided it needed further work. Pitchfork called it 'as valuable an album as anything The Fall ever released in the 1990s' and stated that 'Smith's lyrics are at a near career-best of insolence and nonsense.'"
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4LP BOX
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COR 058LP
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This retrospective is not merely a celebration -- it's a legacy. Sven Väth's unparalleled life and pioneering spirit, as well as the defining moments that inspired an entire generation, are distilled into a profound tribute. A musical retrospective that captures the evolution of a visionary whose art has defined, inspired, and reimagined electronic music culture and retells it with zeitgeist. Sven Väth is more than a DJ, he is a force of nature. A trailblazer whose work is not just music, it's a philosophy of life: ecstasy, freedom, and a fearless pursuit of creativity, all wrapped in a knowing wink of craziness and rebellion. Spanning over three decades, this carefully curated collection invites listeners to trace special moments of Sven's musical work. From his electrifying beginnings to modern interpretations that pulse, this collection is a tribute to a life dedicated to music, every beat a moment frozen in time. Beyond the timeless anthems lies an unreleased treasure -- a hidden gem by Roman Flügel that promises to surprise even the most ardent followers. Alongside Sven's timeless originals, this release showcases visionary remixes by some of the most revered names in electronic music. Beginning with Adam Port's hypnotic reimagining of "Ritual Of Life" to Eric Prydz's cinematic take on "The Beauty and the Beast" and Roman Flügel's unique interpretations, each remix pays homage to Sven's legacy while channeling a bold, contemporary edge. Speedy J, Bart Skils & Weska, and Kölsch further elevate the collection, showcasing the influence of Sven's work across generations and styles. More than a retrospective, this is a living contemporary document that makes techno and club culture tangible. It's a sonic time capsule for those who lived through the golden nights when Sven set dancefloors ablaze -- a musical legacy that connects past, present, and future in a shared pulse that transcends boundaries. For those who want to experience Sven Väth's incomparable energy and passion over and over again. The perfect opportunity to rediscover Sven Väth's legacy in music history or perhaps even experience it for the first time.
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CIR 006LP
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"Get your face ready to be melted by this insane compilation of rare stuff by the KINGS of punishing Music, the Lords of Thrash, the most powerful Metal band ever: Slayer!!! 11 tracks spanning 24 years of their career (from 1986 to 2010) and ranging from B sides to rough mixes, live takes and rare bonus tracks, an absolute must for aggressive music fans all over the spectrum, brutal music for brutal times."
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12"
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DEFCLAS 011EP
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Definitive Recordings presents the reissue of deep house classic Liferaft by Juicy Fruit (aka Meredith Ledger), fully remastered and set to breathe new life into one of the '90s most iconic releases. Originally dropped in 1993, this EP features the original as well as remixes by John Acquaviva and The Stickmen. The standout title track, "Liferaft," is a rich and soulful deep house gem, built around a captivating piano house theme that harks back to the golden era of house music. The track's groove is driven by a classic house beat and a funky, rhythmic guitar lick that perfectly complements its melodic core. The fresh remaster brings new clarity to its timeless warmth, elevating it for modern sound systems while keeping the vintage charm intact. House music legend John Acquaviva takes the funky guitar lick and pushes it further into the groove, layering it with a robust and simplistic bassline. His remix evolves into a deep yet vibrant soundscape, showcasing Acquaviva's signature house influence. The "The Stickmen Dub" intensifies the original's foundation by supplementing it with a hypnotic organ sound. This remix enriches the track with subtle but powerful layers, creating a mood that's both dancefloor-ready and deeply immersive. Definitive Recordings is excited to share this release with long-time fans and newcomers alike. Whether you're a die-hard house aficionado or just discovering the classics, the Liferaft EP is a must-have addition to any collection.
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DIS 198LP
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"Sensor Ghost is a no-wave art-punk trio from Washington, DC, featuring Mike Andre (bass/vocals), Amanda Huron (guitar), and Sam Lavine (drums). The band's spiky songs have been known to leave listeners in a discombobulated trance. Former/current projects include Puff Pieces, Antelope, Weed Tree, Light Beams, Vertebrates, and Stigmatics. Like the aforementioned groups, Sensor Ghost owes a debt to the freaked-out sonics and iconoclastic creativity of the storied DC punk scene. The band's first LP, Irritation on Demand, was recorded with Ian MacKaye and Don Zientara at Inner Ear Studios over a few feverish days in March of 2024, and is now available for order from Dischord Records."
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2LP
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DC 090LP
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Repressed, 2LP version. "2025 is the new 1996! Fresh from them halcyon end-of-century days of the Chicago postrock communal living hostile comes an awesome new vinyl pressing of Gastr del Sol's Upgrade & Afterlife, just in time for its 29th anniversary. Way back when, Upgrade & Afterlife was the umpteenth release from the individual and collective forces of David Grubbs (known then for Bastro, The Red Krayola, Codeine, Squirrel Bait) and Jim O'Rourke (known for O'Rourke), whose further history has since numbered at least another umpteen or so essential listens. What is it though, wrapped up in delectable sonic amber here, that defines this Upgrade? As part of its time-traveling function, Upgrade & Afterlife is a return to roots, but not always necessarily Gastr's. They were more than happy to stand on branches up above other folks in order to see any next thing worth leaping for. Opening at their most incandescently impressionistic, 'Our Exquisite Replica of Eternity' has no precedent in the Gastrlog, and few in most others, either. 'Rebecca Sylvester' uses vocal harmonies to sharpen their singular, gamelan tone poem song form into something resembling a pop reverie at the finish. With undeniable (albeit oblique) comedy, 'The Sea Incertain' comments upon Crookt, Crackt, or Fly's 'The C in Cake,' with the presence of cracked electronics here and elsewhere taking a more forward position. The stentorian chamber piano sound introduced on 'Mirror Repair' is still in full effect throughout Upgrade, but the bluesy rattling of finger style acoustic has the last word, with a tranced-out reading of John Fahey's version of 'Dry Bones In the Valley,' weaving guitar, piano and Tony Conrad's trademark droning violin together to close the proceedings with an ingenious, slow-acting bang. In addition to the elder-statesman Conrad, Gastr del Sol drew upon a memorable spectrum of players for the sounds of Upgrade & Afterlife, including Anthony Burr, Steve Braack, Gene Coleman, Mats Gustafsson, Terri Kapsalis, John McEntire, Günter Müller, Jerry Ruthrauff, Ralf Wehowsky, and Sue Wolf. When issued, this combination of players, parts and play -- packaged in an impressively broad tip-on Stoughton gatefold sleeve emblazoned with Roman Signer's instantly iconic 'Wasserstiefel' image -- became the fastest-moving Gastr del Sol record to date. A delightful result, to our way of thinking, of the band's ability to push at the far boundaries of their music while consolidating upon pleasure points within sounds and songs."
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10"
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DC 617EP
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"This is the first collaboration between Al Cisneros (OM, Sleep) and David Eugene Edwards (Wovenhand, 16 Horsepower)."
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DC 860LP
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"Years past the space time of Automaginary, Bitchin Bajas and Natural Information Society have reported back at last from beyond. If the new title doesn't clue you, Totality brings good news. Since their first collaboration, the path ways that lead from Natural Information Society's ecstatic all-world jazz to Bitchin Bajas' microtonal soundscapes have grown ever finer in their articulation. Across the spectrum, the septet balance a deeply searching mood with wonderfully in-pocket production feel. This makes for collective aural transport of the highest order to all those listening in. In the time since their 2015 first convergence, the Natural Information Society have released four albums (one in collaboration with Evan Parker, one with Ari Brown) and Bitchin Bajas five (one a soundtrack, one with Bonnie 'Prince' Billy, one featuring the songs of Sun Ra). Given the multivarious paths both groups have traveled, it makes sense that their second convergence seems to emanate from centuries, eons beyond or below -- some undefinable elsewhere -- from their first. Totality is that. These days, Natural Information Society is populated differently. From the sextet NIS that co-created Automaginary, Joshua Abrams, Lisa Alvarado and Mikel Patrick Avery remain. In the stead of the departed former players is Jason Stein on bass clarinet. This might account for some mere impression of aspects of time, space and evolution to be found here -- but then again, Bitchin Bajas flow on in their long-standing trio configuration (Cooper Crain, Dan Quinlivan, Rob Frye), so the 'people in the room' theory of how Totality ever got this way will only take us so far. Recorded in a single day with Greg Norman at Chicago's Electrical Audio, then slowly considered into the finished record we hear here, Totality is a sweet-tempered second child. It experiences time in ways the first kid didn't. If you're in it for slow-shifting trance formations, it's gonna be cool. There's lots here for you, lots of simmering time and synth atmospheres dappled with radiant woodwinds -- but there's some head-snapping hypno-rhythms that stand apart from the groove energies of the first one. It's just natural facts: two different days in time separated by years, with the experience of several live encounters between the two groups in between. Beyond that, only the music can say anything else. That said, here are a few thoughts from this listener's log... The low-key revolutionary thump of 'Nothing Does Not Show' and 'Clock no Clock' notwithstanding, Totality charts impressive new launch angles from NIS & BB's improvisatory heart, with their careful listening and response time continually redefining the space in a relaxed manner that rewards deep zoners. Additionally, their blended corps assimilate marvelously on Abrams' composition, 'Always 9 Seconds Away.' Here, and with the aforementioned groovers, the collective resonates beyond familiar kraut/spiritual/minimal power lines, bringing new time conceptions to bear in the always-expansive space of this album event. It's about time we got back to the singularly-divined space of Natural Information Society & Bitchin Bajas with Totality. That's the best way to way to define this new music -- it's about time."
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DC 942CD
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"As many Scots from both Highlands and Lowlands have done before them, musicians Màiri Morrison and Alasdair Roberts made the long journey over the ocean to Canada in June 2023. However, theirs was not a perilous sea voyage, nor a permanent relocation; rather it was for a transatlantic collaboration instigated by Nova Scotian bass player and musical arranger Pete Johnston. The trip resulted in a new album, Remembered in Exile: Songs and Ballads from Nova Scotia, Màiri and Alasdair's long-overdue second album together following 2012's critically acclaimed Urstan. The album's title is an allusion to John Lorne Campbell's book Songs Remembered in Exile, a collection of songs of Scottish Gaelic origin found in Cape Breton and Antigonish County, Nova Scotia. Featuring ten traditional Canadian songs with Scottish roots, Remembered in Exile draws heavily on the pioneering work of Nova Scotian folklorist Helen Creighton, who collected a vast amount of traditional song material on Canada's eastern seaboard. The album's songs are drawn from Creighton's published works including Songs and Ballads from Nova Scotia and Gaelic Songs in Nova Scotia. They are musical artifacts of the westward journey undertaken by Scottish fishers, crofters, merchants and their families as they migrated -- willingly or otherwise -- to Canada from the 1600s to the mid-1800s. A native of the Isle of Lewis, Màiri takes the lead on a handful of Gaelic language songs, mostly collected in Cape Breton, while Alasdair leads on some Canadian variants of the types of Scots ballads for which he has become well known. There are also a couple of 'macaronic' songs in both English and Gaelic. Anchored around Pete's steadfast bass playing and sensitive arrangements, as well as Alasdair's guitar work, the songs are further enlivened by the skills of a fine group of players: Sarah Frank on fiddle, Jake Oelrichs on drums, Mike Smith on banjo and Andrew Killawee on harmonium. Produced by Pete Johnston and Mike Smith at Fang Recording in Dartmouth, Nova Scotia, Remembered in Exile is by turns genial and playful, somber and brooding. It constitutes a fine and fitting follow-up to Màiri and Alasdair's first album together, charting new waters and reforging the longstanding bond between old Scotland and Nova Scotia."
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LP
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DC 942LP
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LP version. "As many Scots from both Highlands and Lowlands have done before them, musicians Màiri Morrison and Alasdair Roberts made the long journey over the ocean to Canada in June 2023. However, theirs was not a perilous sea voyage, nor a permanent relocation; rather it was for a transatlantic collaboration instigated by Nova Scotian bass player and musical arranger Pete Johnston. The trip resulted in a new album, Remembered in Exile: Songs and Ballads from Nova Scotia, Màiri and Alasdair's long-overdue second album together following 2012's critically acclaimed Urstan. The album's title is an allusion to John Lorne Campbell's book Songs Remembered in Exile, a collection of songs of Scottish Gaelic origin found in Cape Breton and Antigonish County, Nova Scotia. Featuring ten traditional Canadian songs with Scottish roots, Remembered in Exile draws heavily on the pioneering work of Nova Scotian folklorist Helen Creighton, who collected a vast amount of traditional song material on Canada's eastern seaboard. The album's songs are drawn from Creighton's published works including Songs and Ballads from Nova Scotia and Gaelic Songs in Nova Scotia. They are musical artifacts of the westward journey undertaken by Scottish fishers, crofters, merchants and their families as they migrated -- willingly or otherwise -- to Canada from the 1600s to the mid-1800s. A native of the Isle of Lewis, Màiri takes the lead on a handful of Gaelic language songs, mostly collected in Cape Breton, while Alasdair leads on some Canadian variants of the types of Scots ballads for which he has become well known. There are also a couple of 'macaronic' songs in both English and Gaelic. Anchored around Pete's steadfast bass playing and sensitive arrangements, as well as Alasdair's guitar work, the songs are further enlivened by the skills of a fine group of players: Sarah Frank on fiddle, Jake Oelrichs on drums, Mike Smith on banjo and Andrew Killawee on harmonium. Produced by Pete Johnston and Mike Smith at Fang Recording in Dartmouth, Nova Scotia, Remembered in Exile is by turns genial and playful, somber and brooding. It constitutes a fine and fitting follow-up to Màiri and Alasdair's first album together, charting new waters and reforging the longstanding bond between old Scotland and Nova Scotia."
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2LP
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EXRECLP 005LP
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At the heart of this double album, and amid the intense internal struggle between creative instinct and artistic reasoning, Ziggy has identified two key themes: inspire and radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco/highlife inspired territories. Bringing this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome and Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.
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FORDIS 007LP
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2025 restock; LP version. Far Out Recordings presents Hermeto Pascoal's remarkable self-titled debut album. Recorded in 1970 at A&R studios in New York, the album features certified North American titans including Ron Carter, Hubert Laws, Joe Farrel, and Googie Coppola, and Brazilian stars Airto Moreira and Flora Purim (who also produced the album). While it was Hermeto's first album released under his own name, he had spent the decade or so prior making a name for himself in Brazil and internationally as a composer, arranger and instrumentalist with groups including Sambrassa Trio, Quarteto Novo, and Brazilian Octopus, before going on to work with (amongst countless others) Edu Lobo, Antonio Carlos Jobim, Donald Byrd, Airto Moreira, and Miles Davis, who allegedly called Hermeto "one of the most important musicians on the planet." With Hermeto's otherworldly orchestral arrangements, ghostly vocal performances from Flora Purim and Googie Coppola, and the inimitable drumming and percussion stylings of Airto Moreira, Hermeto easily rivals some of the oft-celebrated MPB albums of the early 1970s, sitting somewhere between the string-heavy magic of Arthur Verocai's 1972 debut and the unplacable early experimentalism of Pedro Santos' 1968 album Krishnanda. With his phenomenal natural musical genius and a ceaseless sense of creative freedom, Hermeto is widely known for using unconventional objects to make music. In the album's sleeve notes, Airto highlights the track "Velório (Mourning)" explaining how Hermeto filled 36 apple juice bottles with different amounts of water and tuned them to precise pitches in order to create the beguiling harmonies heard. The reissue of Hermeto Pascoal's Hermeto follows Far Out's recent unveiling of a previously unheard Hermeto Pascoal live concert Planetario da Gavea from 1981 (FARO 229CD/LP), and 2017's release of Hermeto Pascoal's lost 1976 studio album: Viajando Com O Som (FARO 200CD/LP).
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LP
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HTLP 019CLR-LP
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Clear vinyl version. "Nick Cave, new in Berlin, entered the world of Die Haut in 1982. The result is a furious album that paves the way for the music that Nick Cave and The Bad Seeds have been making since 1984. Burnin' The Ice has not been available for a long time. Now the record is being reissued on vinyl -- and after many years, it closes a gap that drove Cave completists to despair. No wild god has fallen from the sky yet. Not even Nick Cave, perhaps the best music performer of the present day. Cave has worked hard for his power, his aura, his reputation. An important early milestone on this journey: Burnin' The Ice, released in 1983 together with Berlin band Die Haut. An album like a contemporary document. A ticket to the diffuse and adventurous Berlin of the early '80s, right in the middle of Nick Cave's hot period between The Birthday Party and The Bad Seeds. Burnin' The Ice captures the moment when Nick Cave and Die Haut first developed the music that would later make him seem larger than life. The sound on this record is existential and experimental. Interested in ecstasy and excess. Relentless and uncompromising. Nick Cave's work is actually considered to be well documented. Burnin' The Ice was the exception. That is about to change. The Hit Thing label, curated by Larry Mullins, part of the Bad Seeds' live lineup, has gained Cave's attention with releases such as Morphosa Harmonia and Mullins' own production Camissionia. New vinyl mastering by Doug Henderson, responsible for the mastering of Swans, among others. An LP that was almost thought to be lost is available again."
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LP
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GREEDY 029LP
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"Alternate versions of classic Dwarves songs played live in studio 2000. Hyped frenetic tempos. Standout tracks include 'Follow Me,' 'Speed Demon,' 'Dominator,' and 'Surfing the Intercourse Barn.'"
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