|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 52 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
1332 139LP
|
"Cappadonna, is an American rapper. He is a member of the hip-hop collective Wu-Tang Clan and is a member of the hip hop group Theodore Unit together with Ghostface Killah. Cappadonna's status as a Wu-Tang member or as a featured artist has varied throughout the years, while long referred to by both the group and fans as the 'Unofficial Tenth Member'. Cappadonna's first solo effort was 1998's The Pillage which debuted and peaked at number 3 on the charts and certified Gold. His follow-up -- 2001's The Yin and The Yang -- debuted at number 51 on the charts. Staying vigilant in his support of The Clan, he then featured on over 25 releases including classics from Raekwon, Method Man, and Ghostface."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACRSLP 1686LP
|
"There are perhaps few characters in the history of popular music who were as mysterious, as they were brazen than Aleck Ford, AKA Sonny Boy Williamson II. The true story of Sonny Boy Williamson II remains shrouded in mystery and uncertainty, and it seems this was Ford's intention, but to what ends, nobody can say. One thing is certain though -- he was one of the all-time greats of the harmonica, a bone fide bluesman, talented and charismatic in equal measure. His influence cannot be overstated. The first incarnation of the band that would become the Rolling Stones was named after him: Little Boy Blue and the Blue Boys; B.B King described him as 'the King of the harmonica;' and maybe there would have been no Howlin' Wolf, or Elmore James without Williamson's mentorship and support. The British Blues explosion of the late 1960s certainly owed much to Williamson and his compatriots. This carefully curated collection of this colorful and charismatic performer's work showcases just why he was one of the true legends of blues music. Interestingly, he was inducted into the Blues Hall of Fame in 1980, the same year as Sonny Boy Williamson I. It seems fitting that even in death and in honors they were inextricably linked. This collection hones in on his work that took the world by storm during his tenure with Trumpet and Checker in the 1950's and early '60s from his iconic 'Eyesight For The Blind' through to 'One Way Out.' It is a true celebration of one of the most mysterious characters in music."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACRSLP 1687LP
|
"They called him the Originator for a very good reason. Bo Diddley was the foremost bridge between blues and rock 'n' roll, facilitated in no small part by his 'Bomp ba-bomp bomp, bomp bomp' sound, the famous 'Bo Diddley beat.' He was a master of invention too, inventing his name, his persona and style, and his own guitar. Put simply, he was one of those artists whose importance and influence as a pioneer of popular music far outweighed the commercial and chart success he enjoyed during his career. With just nine U.S. R&B and two Pop chart successes across a career spanning five decades, Diddley was not exactly a hit-making machine. But his legacy is such that echoes of his music pervade rock, pop and hip-hop to this day. This LP revels in Diddley's guitar genius and features 16 of his greatest and most iconic tracks including 'I'm A Man,' 'Diddley Daddy,' 'Pretty Thing,' 'Mona,' 'Say Man' and 'Road Runner.' Once he had scored his first No. 1 with 'Bo Diddley' the shape of popular music changed forever. His influence is clear to see, through some of the work of artists -- and Diddley devotees -- like Buddy Holly, the Rolling Stones, Johnny Otis, Cliff Richard, The Who, Bruce Springsteen, U2, and George Michael. Every time a song uses the 'Bomp ba-bomp bomp, bomp bomp' motif, Diddley's legacy lives on."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACRSLP 1689LP
|
"John Lee Hooker, known as 'The King of the Boogie' and 'the Boogie Man,' was a true blues icon. Quality rather than quantity is the key to Hooker's singular success. He did not have a huge number of hits in the R&B chart, but those that did make a major impact would provide some of the key musical architecture for future blues and rock artists. When he came to prominence in the late '40s, he was playing blues in a way that was regarded as somewhat spare, his dark repetitive vocals supported only by his amplified guitar and his stamping foot. His was no overnight stardom. Having paid his dues over many years, once he started recording, he did so prolifically. This fine collection of his earlier songs demonstrates Hooker's blues virtuosity while at the same time establishing his work as a signpost to a deeper understanding of the British Blues explosion. It features a host of early hits including the iconic No. 1's 'Boogie Chillen'' and 'I'm In The Mood,' alongside 'Hoogie Boogie,' 'Hobo Blues,' 'Crawlin' King Snake,' 'Dimples,' 'No Shoes,' and, naturally, the timeless 'Boom Boom.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
AU 1031LP
|
"On what would have been Arthur Russell's 75th birthday, Audika Records presents a remastered/redux double vinyl rerelease of the much-beloved compilation Love Is Overtaking Me of Arthur's folk, pop, and country songs including 'Planted a Thought,' 'Close My Eyes' and 'I Couldn't Say It To Your Face.' Originally released in 2007 the redux edition includes new masters from a recently found pristine tape reel and was remastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Revised artwork by Molly Smith with extensive liner notes from Arthur's partner Tom Lee. Over twenty years ago, Audika Records began compiling and releasing the exceptionally varied, long sought-after music of Arthur Russell, and in the process has succeeded at helping the beloved, late artist find the broader audience he always believed he would reach. A new generation of listeners and critics has come to appreciate Russell as a visionary and an influence upon a broad range of today's most compelling musical artists. While much critical and popular affection for Russell's music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings now heard on Love Is Overtaking Me, along with songs recorded with various incarnations of The Flying Hearts, a group formed by Russell and Ernie Brooks whose shifting lineup included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon, and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty, and Bright & Early. Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's earliest compositions beginning in 1973 and spans forward to his very last recordings, made at home in 1991. Several of the songs featured prominently in Matt Wolf's now herald 2008 film Wild Combination: A Portrait of Arthur Russell."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FAR 100HLP
|
2026 restock. 180 gram exact repro reissue of this absolutely insular, deranged private press masterpiece. Previously reissued by Shadoks (with full color artwork, as intended). JW Farquhar recorded this on 4-track alone in his apartment in 1972 after ending a 10-year marriage. The songs are part of a "rock opera" and are "written as an outcry against the materialistic nature of the woman." "...it's a fascinating slice of ambitious, primitively lo-fi private press psych with an extreme lonesome/marginalized edge and some great fuzz and F/X. There are points where he gets into a whole schizophrenic exchange between two characters, one of whom talks in a weird fucked-up cartoon monster style, that almost makes you think of James Ferraro's 'Lamborghini Crystal' broadcasts but the rest of the album is just great basement/loner jams with a huge fucking chip on their shoulder, just the way we like 'em." --Kicktokill
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BB 391LP
|
2026 restock; LP version. Reissue, originally released in 1973. There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co. cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. What was lurking within the grooves was a condensed collage of outtakes, oddities, sketches and samples previously known to the band's nearest and dearest as The Faust Party Tapes -- and how you wish you'd been to those parties. Cacophonous keys and roaring drones splinter into a deranged hybrid of tumbling toms and yelping vocals; committed experimentalism which in no way prepares you for the beautiful ballad which follows. Armed with acoustic guitar, playful piano and panning vocals, Faust fashion a pastoral idyll imbued with the most profound yearning. "Flashback Caruso" brims with Byrds-ian jangle and Syd's psychedelia, its non-sensical English lending the piece a Confucian lyricism perfect for expanded minds. Sliced and spliced between TV snippets, dissonant trumpet and the sound of someone pissing, the utterly freaky fuzz-rock of "J'ai Mal Aux Dents" sounds positively radio-friendly, far less far out than if it were encountered alone. Compared to the non-musical madness beside it, this thrash-jazz trance dance makes perfect sense, as does the corrosive breakbeat of "Two Drums, Bass, Organ", a mutant funk workout which rivals Can in an all-German dance off. The progressive and symphonic "Dr. Schwitters", dissected by fragments of dissonant process music, haunted vocal takes and the proto-industrial grind of "Elerimomuvid", charts a course for the dark side of the moon more suited to the serious cosmonauts of the world. Then the record freefalls into disorienting drum workouts, mixing desk experiments and a wicked premonition of no-wave jazz ("Hermann's Lament") before taking slight respite in the beauty of "Rudolf Der Pianist" and "I've Heard That One Before". The particles of prepared piano, power tools and tape echo continue to cascade through the soundspace, gradually building into the final trilogy of "Stretch Out Time", "Der Baum" and "Chère Chambre", which return to conventional song structure, albeit in the group's typically twisted style. Once again though, in comparison to the wonderfully weird pieces which precede them, these three tracks are entirely accessible, and in this lies the brilliance of the album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CR 187LP
|
2026 restock. South African pianist and composer Abdullah Ibrahim (aka Dollar Brand) featuring Hamiet Bluiett (baritone sax) and Don Cherry (trumpet). Exact repro, originally released in 1977.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
CSR 203LTD-LP
|
2026 restock, last copies. White vinyl version. Cold Spring marks a decade since the label first released Coil's landmark album Backwards, with a special 10-year anniversary vinyl reissue. After the ground-breaking release of 1990's Love's Secret Domain album, Coil were not dormant; the main project was Backwards, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), Backwards contains the original versions of Coil's much-loved tracks; "A Cold Cell" and "Fire Of The Mind," which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between LSD and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. 180g heavyweight vinyl in a gatefold matt-laminate sleeve with silver detail.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DE 348LP
|
"Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: 'I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.' Depths overflows with this excess of vitality. Tracks like 'Trust the Current,' 'Depths,' and 'Underwater World Pursuit' showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, 'Again' and 'Higher' push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd's ethereal vocals. But the dancefloor is not to be neglected: 'Breakthrough' and 'Ode to Life' spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics -- it is truly an ode to life."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 822LP
|
Co-Release with Cardinal Fuzz/Rooster Rock. A unique bespoke outer sleeve. Cardinal Fuzz and Feeding Tube Records, both seasoned navigators of the deep zone, present two new kandodo albums -- Solstice/Dub and Dusk/Dawn (FTR 823LP). Two records orbiting one deep pulse, each presented in a unique bespoke deluxe screen-printed outer sleeve finish. Includes download for full pelagic bliss. From the psychedelic shack in Northumberland, Simon Price (kandodo) has spent two years coaxing these sounds into being, eighty minutes, four sides, each a branch reaching out from the same shimmering sonic tree. A slow unfurling of heady drift and cosmic fuzz, the sound bending like light across the equinox, refracted through delays, flanges and fuzz until it folds in on itself. Hugo Morgan (The Heads) joins on low-end duties, sending tremors through the deep ether where the basslines anchor the drift, turning the horizon to liquid and the floor to vibration Four longform trips, each a 20-minute drift through the same solar pulse seen from different angles, all refracted through a sike sonic toolbox. A headphone treat at 20,000 feet or cranked loud on the stereo. They're glimmering portals, longform meditations, head-expanding drift zones to lose yourself in, built for the hour when everything dissolves, preferably at 2AM, lights low, synapses wide open, the turntable spinning like a slow planet. Each side a transmission that captures the same essence but from a different vantage point. "Solstice" brings the march of fuzz, tremeloes pulling you under. The dub burns with the bright hum of eternal noons and shards of phased harmonics. Dubbed, delayed, distorted, this is kandodo in full expansion mode, an anural equinox, a sonic solstice, a total double dissolver. One pulse, four horizons, infinite zones. Drop the needle, watch time blur and dive deep. See you on the other side.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 823LP
|
Co-Release with Cardinal Fuzz/Rooster Rock. A unique bespoke outer sleeve. Cardinal Fuzz and Feeding Tube Records, both seasoned navigators of the deep zone, present two new kandodo albums -- Solstice/Dub (FTR 822LP) and Dusk/Dawn. Two records orbiting one deep pulse, each presented in a unique bespoke deluxe screen-printed outer sleeve finish. Includes download for full pelagic bliss. From the psychedelic shack in Northumberland, Simon Price (kandodo) has spent two years coaxing these sounds into being, eighty minutes, four sides, each a branch reaching out from the same shimmering sonic tree. A slow unfurling of heady drift and cosmic fuzz, the sound bending like light across the equinox, refracted through delays, flanges and fuzz until it folds in on itself. Hugo Morgan (The Heads) joins on low-end duties, sending tremors through the deep ether where the basslines anchor the drift, turning the horizon to liquid and the floor to vibration Four longform trips, each a 20-minute drift through the same solar pulse seen from different angles, all refracted through a sike sonic toolbox. A headphone treat at 20,000 feet or cranked loud on the stereo. They're glimmering portals, longform meditations, head-expanding drift zones to lose yourself in, built for the hour when everything dissolves, preferably at 2AM, lights low, synapses wide open, the turntable spinning like a slow planet. Each side a transmission that captures the same essence but from a different vantage point. "Dusk" slinks into the cool breath of the coming dark. "Dawn" lets slip earthly bounds and shimmers into deep space, going beyond beyond. Dubbed, delayed, distorted, this is kandodo in full expansion mode, an anural equinox, a sonic solstice, a total double dissolver. One pulse, four horizons, infinite zones. Drop the needle, watch time blur and dive deep. See you on the other side.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
HSRSS 039EP
|
"This is the reissue of the rare 1973 original single with its original tracks as produced by Lee Perry. This original 'Better Days' performed by The Carltons aka Carlton And The Shoes, was released on the Jamaican label Underground in 1973 as a B side to the track 'Station Underground News' by Lee Perry (under the stage name 'King Koba'). It was also released the same year in the U.K. on the Bread label, a Trojan's sublabel. 'Better Days' was the only song ever recorded under the name The Carltons. Regrettably, it was also the only Carlton And The Shoes track ever produced by Lee Perry. This is the fi¬rst reissue of the original single complete with its original tracks."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
HSRSS 040EP
|
"This is the fi¬rst reissue ever of the ultra-rare and very much in demand single fi¬rst issued in the U.K. on the Doctor Bird label. Although it was released in 1968, the single captures The Ethiopians at their best as a Rocksteady vocal harmony group with two extremely popular and highly collectible Rocksteady tracks on 7" vinyl format, the A side 'Come On Now' and 'Sh'Boom' on the flip."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HPS 386CD
|
There comes a point in every band's life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record, Forgeries (72-84), 16 return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what you love and make it semi-unrecognizable through devotion. The band have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artwork, rendered by the ever-amazing Marald, completes the ritual, iconic, unsettling, and unafraid. From the early '90s onward, 16 have treated covers as translations rather than as replicas, acts of tribute and emulation, filtered through distortion, fatigue, and lived experience. In the band's collective head, this album exists because these songs demanded it. In the end, Forgeries (72-84) stands as both a thank you note and a theft, a reminder that all music worth a damn is borrowed, broken, and passed on between friends. The selections on Forgeries (72-84) span eras and attitudes, unified not by genre but by necessity. Each track is a document of obsession, of influence absorbed and re-expressed without permission. Also available on black vinyl (HPS 386LP), green vinyl (HPS 386LTD-LP), and splatter color vinyl (HPS 386ULTRA-LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HPS 389CD
|
Your favorite weed sludgers are ready to come back with their fourth studio album, the aptly titled Stoned Villains, out on your beloved Heavy Psych Sounds Records. The band's distinctive sound emerges immediately after the first listen: seven tracks of heavy, sulfurous doom-sludge, with influences ranging from the '90s to Turin-inspired hardcore punk, the scene in which these "villains" were formed and raised. Heavy and cutting guitars, a seismic rhythm section, and Gingerzilla's voice barking out ungraceful tales of weed abuse and uncontrolled eating. The song titles perfectly describe Tons: a band that doesn't take itself too seriously and uses irony as its strong point. Also available on black vinyl (HPS 389LP), pink vinyl (HPS 389LTD-LP), and red/blue splatter vinyl (HPS 389ULTRA-LP).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
HT 026-27CD
|
Gaia-Songs (1992, revision 2015). For a soprano (or mezzo-soprano) solo and an actress voice (Sprechgesang technique) with electro-acoustic (fixed sounds). Anne-Lisa Nathan, mezzo-soprano. Helena Rüegg, actress voice. "First there's this relation between sung voices and spoken voices with regard to the electro-acoustic parts. The sung voice is quite often separated from the electro-acoustical parts accompanying it. They may sometimes overlap each other but rather briefly. Those parts often highlight octave ratios, fifth ratios, third-ratios, etc. Hence more harmonious and consonant acoustic ratios. By contrast the spoken voice fully covers the electro-acoustic parts dedicated to it and made out of more complex material. Hence more dissonant acoustic ratios turned towards noises spectrums." JC-Eloy from the liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
HT 028-29CD
|
A l'approche du feu meditant ("Approaching the meditative flame"), originally composed in 1983. Theater Music for a sound and visual ceremonial. A tribute to the goddess of the light, the sun, and the stars. For 27 instrumentalists from the Gagaku Orchestra (divided in three separate ensembles), two choruses of Buddhist monk singers (Shômyo singing traditionnal school -- Tendai and Shingon sects -- divided in four separated ensembles, with four monk singer soloist voices), six percussionists, five Bugaku dancers. Extracts of this piece were published by Harmonia Mundi on a double vinyl in 1985.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HT 030CD
|
A series of instrumental pieces documenting the years before the switch to the long electroacoustic compositions more characteristic of the composer. Faisceaux-Diffractions (1970) for 28 instrumentalists including a Hammond organ, and two electric guitars. Recording of the world premiere, on October 30, 1970, in Washington D.C. (USA) by the New York Contemporary Chamber Ensemble. "The instrumental ensemble is subdivided into three strongly isomorphic orchestras, allowing the treatment in the space of similar musical structures. This tone-color isomorphism allows sometimes to leave 'floating' the synchronization between the three orchestras, the conductor being able to combine the 'tiling' of the orchestras, following a large number of possibilities, but within strictly defined temporal proportions.". Macles (1966) extracts of the music of the film La Religieuse (The Nun) by Jacques Rivette. For various groups of instruments including a solo Zarb and a Cymbalum. Ensemble Musique Vivante under the conducting of Boris de Vinogradov. Zarb solo played by Jean-Pierre Drouet. "At the time of the realization of this work, in 1966, I was a teacher at the University of Berkeley, and I was trying to find a theory to unify the modal music (repetitive, with uses of fixed harmonic fields and use of notes poles, etc.) to atonal chromatic music, serial or not (variational, fluctuating, ornamented, etc.): this by directly organizing the structural blocks, and not by deducing them from a serie." Boucle et Sequence (1968) for 19 instrumentalists. Very short musical sequences for the film l'Amour fou (Mad love) by Jacques Rivette. "These two very short musics were written in 1968 at the request of Jacques Rivette for his film l'Amour Fou (Mad love), which he was shooting (Sequence is the music of the very last scene of the film -- in its original version -- when Jean-Pierre Kalfon leaves walking alone in the streets of Paris). In hindsight, they constitute a sort of 'premonition' of the writing and aesthetics, which will then be affirmed, in 1970 and 1971, with Faisceaux-Diffractions and Kâmakalâ (use of repetitive loops; mass heterophony; intervals filled in active aggregates; etc.)"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD
|
|
HT 031-34CD
|
The four pieces that compose Réminiscences, a masterpiece if ever there was one, create the equivalent of a human day, from dawn to night, from call to cry, from meditation to revolt, through the clash of the sounds of human and natural activities. Simply unique and grandiose. Jean-Claude Eloy (1938) is a French composer with a classical background who moved away from the structures and models that had carried him until then (models imposed on contemporary music through various institutional and official hegemonies) to create, from the early 1970s onwards, long electroacoustic frescoes, vast poems of sounds and noises between Western and Eastern traditions, the main aim of which is to liberate the sound imagination. 5-panel digipak. Includes 24-page booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FREUD 143R-LP
|
"Fields of the Nephilim's Fallen revives the cult 2002 studio album from Britain's masters of gothic rock, now remastered and paired with a full bonus disc recorded live at Roskilde 2000. Pressed on striking transparent red vinyl and housed in a deluxe gatefold sleeve with new liner notes by acclaimed music journalist Mick Mercer, this 2LP set captures both the haunting atmosphere and immense live power that define Fields of the Nephilim's sound. The original Fallen sessions stand among the band's most shadowy and intense works, blending Carl McCoy's gravelly incantations with shimmering guitars and apocalyptic textures. The newly remastered edition restores their full sonic depth and clarity. The second LP, Live in Roskilde 2000, offers a rare, visceral document of the band's legendary stage presence."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JR 001LP
|
2026 restock. "In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This first volume contains the first two Peel sessions the band recorded for the BBC, on September 1980 and April 1981."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JR 002LP
|
2026 restock. "In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This second volume contains the last two Peel sessions the band recorded for the BBC, December 1981 and November 1982."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
LCD 1041CD
|
2026 restock of the original CD version; recently awarded: 9.0 Best New Reissue on Pitchfork, Originally released on Lovely Music in 1978. David Behrman's On The Other Ocean is an improvisation by Maggi Payne and Arthur Stidfole centered around six pitches which, when they are played, activate electronic pitch-sensing circuits connected to the "interrupt" line and input ports of a microcomputer, Kim-1. The microcomputer can sense the order and timing in which the six pitches are played and can react by sending harmony-changing messages to two handmade music synthesizers. The relationship between the two musicians and the computer is an interactive one, with the computer changing the electronically-produced harmonies in response to what the musicians play, and the musicians influenced in their improvising by what the computer does. Figure In A Clearing, made a few months before On The Other Ocean, was the first piece of Behrman's to use a computer for music. For Figure, the Kim-1 ran a program which varied the time intervals between chord changes. The time intervals were modelled on the motion of a satellite in falling elliptical orbit about a planet. David Gibson's only "score" was a list of six pitches to be used in performance, and a request that he not speed up when the computer-controlled rhythm did. The timbral richness and concentrated eloquence of his playing sprang from his own sources. Personnel: David Behrman - electronics, Kim-1 microcomputer; Maggi Payne - flute; Arthur Stidfole - bassoon; David Gibson - cello. Recording engineers: "Blue" Gene Tyranny and Richard Lainhart. Charming booklet notes by David Behrman.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
LCD 1601CD
|
2026 restock. 1996 release. Originally released on Lovely Music as Pulsers / Untitled in 1984. This re-release includes an additional piece from David Tudor, Phonemes. Pulsers explores the world of rhythms created electronically by analog, rather than digital, circuitry. With analog circuitry, the time-base common to the rhythms can be varied in many different ways by a performer, and can eventually become unstable. Untitled is a part of a series of works composed in the 1970s that were developed through experiments in generating electronic sound without the use of oscillators, tone generators, or recorded natural sound materials. Composed in 1972, it was designed for simultaneous performance with John Cage's vocalization of his Mesostics Re Merce Cunningham. The work was revived in 1982, and performed with improvised vocals by Takehisa Kosugi. Phonemes was commissioned by the Merce Cunningham Dance Company for Cunningham's dance Channels/Inserts (1981), a work made both as a "filmdance" and for the stage. Phonemes employs two discrete processes which provide input source material for an array of sound modifying electronics, thus creating a multitude of outputs. David Tudor, electronics, with Takehisa Kosugi, electronic violin and vocals; produced and recorded by David Tudor, Nicolas Collins, and John D.S. Adams.
|
viewing 1 To 25 of 52 items
Next >>
|
|