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browse New Releases
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viewing 1 To 20 of 20 items
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2LP
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ZORN 065LP
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2026 repress; reissue, originally released on CD in 2005. Eric Dolphy's final studio album is hailed as one of the finest examples of mid-60s post-bop. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. It marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would have moved past or away from the album in 1965, had he lived. Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up And Down", extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, although a photo taken by Daidō Moriyama inside Tokyo's Shinjuku railway station replaces the enigmatic "Will Be Back" sign. Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde, and contemporary classical. Recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") appear, and individual players -- including Alfred Harth on bass clarinet -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage. However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." Otomo himself plays electric guitar. From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wild man Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. Dolphy is transported into the 21st century and allowed to romp through modern developments in music.
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2LP
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DPROM 131LP
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Reduced price, last copies. Double vinyl reissue of Skullflower's epochal IIIrd Gatekeeper album -- the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands' archives. Recorded in London in 1991 and released in 1992 on Justin "Godflesh" Broadrick's HeadDirt label in 1992, IIIrd Gatekeeper established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the "grunge" and the expansion of underground guitar "rock" into corporate America, IIIrd Gatekeeper had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects Pure, Total and JFK. IIIrd Gatekeeper was Skullflower's third album and was the first of the band's albums to feature a consistent line-up throughout its production. Includes heavy matt non-scratch laminated gatefold sleeve.
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2LP+CD
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ET 923-08LP
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2026 restock; Third release by the Maciunas Ensemble on Edition Telemark after 1976 (ET 314-07LP, 2015) and the self-titled 50th anniversary LP from 2018 (ET 785-08LP). The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score Music for Everyman by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music. One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP Music for Everyman 861 (1986, Apollo Records) and the self-titled LP. Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named YoplaBoum and Permanent Wave. They are re-released here for the first time, with a double LP featuring the whole YoplaBoum cassette -- the 43-minute title piece split across the first two sides, the two others on sides C and D -- and a CD including the two tracks from Permanent Wave. Single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period; includes CD in cardboard sleeve; edition of 300.
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LP
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JPR 82801LP
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2026 restock. "Unquestionably Portland's most well-loved punk group, the Wipers formed in the late 1970s and in 1980 released their debut LP, Is This Real? -- twelve songs of stabbing, jittery guitar, snapped vocals, and unabashed teen angst. Full of desperation and yearning, the LP has stood as a blueprint for wretched youth for over 25 years. In the early 1990s Is This Real? was given mainstream attention when Nirvana covered two tracks off the record and Cobain announced it was one of the primary influences on his group. While it was reissued on compact disc and available as a part of the Wipers Boxed Set (Zeno), this is the first time Is This Real? has been available on vinyl in the U.S. since its initial release. Remastered from original tapes as provided by Greg Sage himself, the LP is pressed on audiophile grade vinyl and housed in a deluxe tip-on sleeve. Complete with a printed insert that replicates the original innersleeve, the Jackpot Records reissue of Is This Real? is a lavish tribute to one of the greatest recordings of the last 30 years."
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LP
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JPR 82803LP
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2026 restock. "The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. While their debut LP provided the blueprint for grunge, and their second album recast the band as one of America's premier postpunk bands, it's Over The Edge that best exemplifies the Wipers' sound. The jagged, effortless guitar lines, the paranoid lyrics and raw-throated vocals and the taut, unified rhythms that define their sound bleed together most clearly on this LP, and it stands as both the best entry point for new fans and the most prevalent favorite of diehards. Since Jackpot Records began our Wipers vinyl reissues in 2006, we've been inundated with requests for a reissue of Over The Edge. After two years of labor, including an immaculate remaster from the original tapes by Greg Sage, we are proud to present Over The Edge, pressed on audiophile grade vinyl and packaged in a deluxe, tip-on sleeve."
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MR 492LP
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2026 restock. Just as the hippie era came to an end in America, a second '60s began. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music "heavy," because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-'70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, "Watch Out," was the anthem of the counterculture. Following previous collaborations with Now-Again Records, Munster are thrilled to reissue now Wells Fargo's Watch Out!, a curated collection of songs intertwining rock and funk with Zimbabwean folkloric melodies, taken from the band 45s discography, never available outside of Zimbabwe at the time the singles were originally released.
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CD
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RM 4232CD
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A note from Aviva Endean: "Following our 2024 self-titled release, Nick and I were compelled to make another record, expanding on the distinctive sound world we have found as the duo Driftwood. Grounded in the unique instrumentation of two microtonally re-tuned pump organs, alongside clarinets and guitars, the sonic landscape of Driftwood has become a welcoming place for us to inhabit together. The distinctive characteristics of these instruments, as well as the challenge of playing multiple instruments simultaneously, have become a frame we've leaned into more and more, trusting the vitality of their combined resonance to lead us further into uncharted paths of improvisation. For our second album, we wanted to incorporate additional elements from each of our solo practices into our sound: modular synth, effects pedals, electric guitar and contact mics (because playing two instruments at the same time wasn't enough for us!) In Maps, electronics are subtly worked back into the original improvisations, saturating the live instrumentation with bass undertones and signal processing, pushing the sound into more otherworldly realms. Sometimes the pieces hint toward song-like forms, with repetitive guitar ostinatos lulling the music to the edge of familiarity, while other times the drones and harmonies blur, creating the ground from which glimpses of folk-like melodies surface, as if from a long-forgotten dream."
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CD
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RM 4252CD
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A note from Gabriella: "Parasymbiosis -- the ability of two separate organisms to exist closely together. I have long pondered the concept of connectedness in relation to life's existence. The Dalai Lama teaches that destruction of one's neighbor equates to destruction of oneself. In contrast, modern Western culture has placed the individual at the epicenter of existence -- to the detriment of non-humans and humans alike. Ecological Memory influences present or future responses of a community; it is this shared memory that enables organisms, objects and the environment to connect to each other, and to the other. What happens when a community or ecological system loses this memory, this connection? The systems begin to break down; intergenerational memory evolves in rapid short steps, culture and connection becomes unrecognizable. Time speeds up. Yet with the naked eye, the universe reflects slow time. Its very distance provides a sense of stasis. Understanding the night sky could very well be the vastness of time we have forgotten through our ecological memory, our loss of the visible difference between the likes of night and day; non-referenceable and dictated by intangible rhythms that exist beyond the cyclic elements of nature. Through Parasymbiosis I imagined sounds of the inherent connection between the earth and the universe. Contemporary society has rendered invisible the heritage of the night sky and what it teaches us. The wonder and awe it inspires, in its pure, unadulterated form untouched by light pollution and modern satellite activity, has always informed non-human and human life cycles and human culture. In modern times, only 40% of human beings can still see the Milky Way. We have forgotten that the dark sky and the earth reflect each other -- they are, as a metaphor, parasymbiotic. The Electric Cristal (EC) features strongly in Parasymbiosis. It is a microtonal, electro-acoustic instrument that has captured my imagination through its deep and fragile resonance created by touching glass rods encased in aluminum. Ceated by Dylan Crismani (AUS) in 2019, the EC conjures vast soundscapes. Electronics exploit the volatile vibrations and random frequencies that the instrument generates."
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2CD
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SLT 008CD
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2026 restock. Saltern presents a thrilling new live recording of Naldjorlak for solo cello, composer Éliane Radigue's first piece for an acoustic instrument, paired with a remastered version of the long out-of-print, original 2006 recording. Composed in 2005 in close collaboration with cellist Charles Curtis, Naldjorlak marked a striking shift in the music of Radigue, who has since composed exclusively for instrumentalists with her celebrated Occam series. This double-CD album brings together two complete performances by Curtis, recorded nearly 15 years apart (Paris in 2006 and Los Angeles in 2020), drawing attention to the evolution of the piece and to its inherent mutability. The sound and spirit of Naldjorlak are centered around the re-tuning of the entire cello to the wolf tone, a uniquely unstable frequency, creating a haunting, almost feedback-like resonance within the instrument itself. Mastered by Stephan Mathieu with custom packaging and screen printing by Alan Sherry. Includes extensive liner notes by Gascia Ouzounian, Radigue, and Curtis, and a reproduction of Radigue's never-before published original drawing of Naldjorlak.
From Gascia Ouzounian's liner notes: "Even as it expands conceptions of what sound is, and thus what music can be, to understand Naldjorlak only as music would be to limit its scope. It is music, but it is also physics and philosophy. Naldjorlak is a detailed investigation of the physical properties of resonating bodies and dynamic systems; it is a meditation on the condition of instability; it is a metaphysics of chaos and uncertainty."
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2CD
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SR 595CD
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Many Many Women by Petr Kotík is a large-scale composition for voices and instruments from 1975-78 on the text of Gertrude Stein's novella of the same name. It was published in Paris in 1910 as part of the book G.M.P. -- Gertrude, Matisse, Picasso. Voices and instruments performed by members of S.E.M. Ensemble and Ostravská banda. In 1972, the book was published again by Dick Higgins in his publishing venture Something Else Press. Kotík used the complete text, which determined the length of the piece. Inspired by his close collaboration with the composer and singer Julius Eastman, Kotík began composing for voice in 1971. Gertrude Stein was the first author Kotík used in a series of compositions on her texts. Many Many Women is the culmination of this series. A performance of the entire composition lasts almost six hours and features three pairs of singers and three pairs of instrumentalists performing in parallel perfect intervals: fifths, fourths, and octaves. It can also be performed in a shorter version with a smaller instrumentation. Starting in the mid-1970s, Many Many Women was performed incrementally, as Kotík continued to compose the piece. The completed composition was premiered in its entirety in 1979, in a series of three consecutive six-hour performances: at the Albright-Knox Art Gallery in Buffalo, New York, and in New York City, at Paula Cooper Gallery and at the Whitney Museum of American Art. The current recording of Many Many Women features two sopranos; countertenor; tenor; bass-baritone; bass; two flutes; two trumpets; and two trombones. The poetic nature of the text evokes imagery that can lead to staging. In June 2022, the festival New Opera Days Ostrava (NODO) presented the complete (one movement, six-hour in duration) performance of Many Many Women. Subsequently, the piece was recorded and edited down to a length of a double CD -- 142 minutes of music. The liner notes were written by the Viennese composer Bernhard Lang, who has been associated with Kotík for almost twenty years.
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LP
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SV 179LP
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2026 restock. "If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement. Suburban Lawns' asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group's male vocals -- courtesy of Frankie Ennui, Vex Billingsgate and John McBurney -- maintain the satirical themes of Southern California's postwar mirage of limitless sprawl. Suburban Lawns' catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on 'Anything,' which could have easily come out on any purely punk label from LA at the time, while Tissue's deadpan delivery on 'Janitor' glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured 'Boom, Boom, Boom, Boom.' From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play."
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LP
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TAIGA 002LP
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2026 restock. Originally released on CD by Staubgold side-label Quecksilber in 2007, Space Solo 1 is Rafael Toral's second release in his ongoing Space Program, a venturesomely bold series of recordings. Internationally-acclaimed for his experimental drone and ambient guitar work, the Space Program is completely divergent from his past output. Equipped with handmade instruments, Toral's project is a performance-based discipline, which he calls "post-free jazz electronic music." Following the Space Program's inaugural release, Space, Space Solo 1 presents a raw exploration of a select few instruments Toral designed for the series. In contrast to Space, which consists of thoughtfully layered recordings from various live and studio performances, Space Solo 1 presents unaccompanied instruments traveling through unfamiliar territories where sounds exist in their singularity. The result grabs at the listener to stay alert, tiptoeing around silent moments, increasingly mounting tension and inspiring awe. As each instrument hints at a particular language belonging only to itself, Toral's masterful playing is revealed as an instinctual process. Space Solo 1 is 44 minutes of otherworldly splashing, ripping, beeping, hissing, etc. An indefinite number of sounds carefully coaxed from unique instruments, drawing a blurry line between ancestral and futuristic. Now available on LP through Taiga, this deluxe audiophile version was mastered direct to metal, pressed on 200 gram transparent red virgin vinyl and is presented in a limited edition of 500 copies. The jacket was cleanly designed by Helder Luís at No Type, featuring the Rui Toscano drawing from the CD version printed on reversed stock with a pantone red flood in the pocket.
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2LP
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TAIGA 019LP
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Limited restock, last copies... Wired Open Day 2009 is a vinyl-only release documenting live performances by Alan Lamb, Garry Bradbury, David Burraston, Oren Ambarchi and Robin Fox. Held outdoors during the evening of October 31st at The WIRED Lab, in rural South West, New South Wales, Australia, this 2LP is a document of the event; the result of an artist-in-residence program to explore the sonic possibilities of The Wires, landscape scale installations in rural NSW. The WIRED Lab is an artist-run initiative founded in 2007 to foster art/science collaborations in a rural environment. The initial focus of this project was to establish a site to preserve and expand on The Wires, a distinctly Australian invention that was pioneered by Australian artist Alan Lamb since the 1970s. Wiredlab.org notes that, "Lamb's formal investigations of The Wires started in 1976 with his discovery of a 1km stretch of abandoned telegraph wires on a farm in the Great Southern region of Western Australia ... Lamb learnt to record them and later devised compositions with these recordings. When these telegraph lines eventually decayed, Lamb commenced building wire installations primarily for recording. Like the scale of the original telegraph wires, these purpose-built wire installations were not of a domestic scale, they too had a deep connection with nature and spanned 100s of meters across the rural landscape. Although principally functioning like a giant æolian harp, it is not only wind that 'plays' The Wires, it seems that on their own accord The Wires often harmonically 'sing,' vibrate or roar as they react to environmental factors, thereby creating a unique and infinite instrumentation of itself and its surrounds, in the words of David Burraston 'they are nature's microphone.'" The four sides of Wired Open Day 2009 display the expansive range of the Wire installations built by The Wired Lab. Commencing at sunset, Garry Bradbury and Alan Lamb coax a gentle eco with acoustic recordings into deep and sonorous reverberations on side A. David Burraston and Alan Lamb focus on droplets of zaps and wire oscillations at twilight, with side B culminating in a downpour of crackling spray. At nightfall, Oren Ambarchi applies his mastery of condensed and layered tones on side C, with shuddering overtones, husky drones and rich clusters of sustain. Robin Fox concludes, in the dark, on side D, mashing off-kilter rhythms with a tumble of staccato bursts and fuzzy crunch. An edition of 500 double LPs in hand-numbered matte-varnished Stoughton tip-on gatefold jackets, Wired Open Day 2009 was mastered by James Plotkin, cut direct to metal and pressed on 200 gram virgin vinyl. This release features photographs from the site and text by Sarah Last, founder of The WIRED Lab and Curator of Wired Open Day 2009.
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CD
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THRILL 653CD
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"The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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LP
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THRILL 653LP
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LP version. "The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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LP
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THRILL 653X-LP
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LP version. Clear pink color vinyl. "The work of BIG|BRAVE is ever-expanding. The trio's singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. in grief or in hope is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. The album marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio's instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: 'All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.' The tenth album for the ensemble, in grief or in hope pays homage to their past while looking into their future. Standout 'the ineptitude for mutual discernment' expands on lyrical themes first explored on 2015's Au De La where 'verdure' echoes melodies from the title track of 2014's Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE's evolution as artists. A sonic whirlpool of string instruments surround Wattie's commanding vocals as she shifts from spectral undulations on pieces like 'what may be the kindest way to leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'an uttering of antipathy' are coupled with autotuned phrases emphasizing the protagonists' isolation inside the fray. Together the trio shift to deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. in grief or in hope transmits that sense of humanity with every gesture."
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THRILL 655LP
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"Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse.) These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that's as immediately engaging as it is a series of delicious puzzles. When two of experimental music's most irascible characters spend twelve years crafting an album, you don't just get another release -- it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s -- the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably 'hermetic' creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo's singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much 'difficult' experimental music, Cloud Machines maintains an uncanny and sneaky accessibility -- each track a self-contained world, inviting and alien in equal measure. It's not always a two-man show. On side one, 'The Analysis of Joel' refracts the prepared guitar playing of Joel Knispel into eerie shards as M.C. Schmidt counters with processed fragments of the music of Polish electroacoustic composer Bogusław Schaeffer. John Berndt takes a solo on the mysteriously poised synthesizer etude 'The Balcony.' Side two features the largest ensemble piece, 'Gecko Lazzaro' a slow-burning sinuous bassline groove featuring the trombone playing of Baltimore improviser Patrick Crossland and a suitably fried guitar solo from Owen Gardner (lead guitarist of Berlin-by-way-of-Baltimore out rockers Horse Lords). Like a kaleidoscope turning slowly towards and away from different light sources, genres and traditions seem to emerge from the haze and pull into focus and then melt away again, but never constrain the constant sense of exploratory forward movement."
"For three decades now Daniel and Schmidt have found gaps where experimental approaches and sources can leak into music that could be played in a club or on the radio, showing that stretching the Overton window of musical sounds doesn't have to be restricted to rarefied settings." -The Quietus
"One can't help but be in awe of the production mastery on display and the confidence with which Matmos have turned a man's creative remains into a freshly expressive musical instrument." - The Wire
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THRILL 655X-LP
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Egg yolk yellow color vinyl version. "Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse.) These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that's as immediately engaging as it is a series of delicious puzzles. When two of experimental music's most irascible characters spend twelve years crafting an album, you don't just get another release -- it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s -- the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably 'hermetic' creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo's singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much 'difficult' experimental music, Cloud Machines maintains an uncanny and sneaky accessibility -- each track a self-contained world, inviting and alien in equal measure. It's not always a two-man show. On side one, 'The Analysis of Joel' refracts the prepared guitar playing of Joel Knispel into eerie shards as M.C. Schmidt counters with processed fragments of the music of Polish electroacoustic composer Bogusław Schaeffer. John Berndt takes a solo on the mysteriously poised synthesizer etude 'The Balcony.' Side two features the largest ensemble piece, 'Gecko Lazzaro' a slow-burning sinuous bassline groove featuring the trombone playing of Baltimore improviser Patrick Crossland and a suitably fried guitar solo from Owen Gardner (lead guitarist of Berlin-by-way-of-Baltimore out rockers Horse Lords). Like a kaleidoscope turning slowly towards and away from different light sources, genres and traditions seem to emerge from the haze and pull into focus and then melt away again, but never constrain the constant sense of exploratory forward movement."
"For three decades now Daniel and Schmidt have found gaps where experimental approaches and sources can leak into music that could be played in a club or on the radio, showing that stretching the Overton window of musical sounds doesn't have to be restricted to rarefied settings." -The Quietus
"One can't help but be in awe of the production mastery on display and the confidence with which Matmos have turned a man's creative remains into a freshly expressive musical instrument." - The Wire
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LP
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WSR 002LP
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2026 restock. The journey continues. Now, the second Want Some Record release is the first album of The Mighty Cavaliers from Kenya. This record is another masterpiece of Kenyan funk-influenced music at its best. The songwriting is not from just one musician; every musician contributed songs and music, which makes it very special. You can hear the different musical influences, and every track has its own personality. Fisherman was released twice before, in 1976 and 1978. Now, it's time to spread this wonderful music to the world again in a very limited edition of only 500 pieces, with a brand-new cover design.
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2CD
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WER 2069
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Warehouse find, last copies. "Between 1980 and 1997, artists presented a panoply of exhibitions, installations, performances, and concerts, and engaged in lively debate on art theory, at Het Apollohuis in Eindhoven, the Netherlands. Under the direction of founders Paul and Helene Panhuysen, the building became an important center for an avant-garde that bridged the visual arts and music. Since 2009, the archives of Het Apollohuis have been located at ZKM in Karlsruhe, where scholars are examining, documenting, and preserving this valuable store of sound, text, and pictorial materials. This CD and 72-page booklet presents excerpts from previously unpublished concert and performance recordings of important artists who appeared during the lifespan of Het Apollohuis." Artists include : Petr Kotík, Jackson MacLow, Alvin Lucier, Jaap Blonk, John Cage, Hugh Davies, Paul DeMarinis, David Dramm, Arnold Dreyblatt, Judy Dunaway, Max Eastley, Shelley Hirsch, Rolf Julius, Thomas Koner, Ron Kuivila, Chris Mann, David Moss, Phil Niblock, Bob Ostertag, Paul Panhuysen, Jim Pomeroy, Akio Suzuki, The Michael Gordon Philharmonic, Mark Trayle, and Z'EV.
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