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forthcoming releases available for pre-order
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How preorders work: FAQ
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3CD BOX
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ACME 349BOX
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$23.00
PREORDER
RELEASE DATE: 9/20/2019
"A presentation featuring Joe Meek's fantastical lunar stereophonic sound adventure, I Hear A New World; both the celebrated 1991 RPM restoration and the original unreleased 1960 concept album; placed in broader international context alongside seminal works by other pioneers of electronic music; from Daphne Oram to Edgard Varèse. Considered in this context, Meek's masterpiece seems less an oddball pop novelty than a daring and visionary electronic sound exploration. The legendary British pop producer came to prominence during the repressed monochrome days before the Beatles arrived to change everything; an era of fascination with all things Space Age and nuclear; a mood Meek encapsulated with his biggest hit, Telstar by the Tornados; a million selling chart-topper on both sides of the Atlantic and the first British pop single to reach Number One in America. Electronic gear and studio techniques were Meek's obsession. He would dismantle a piece of equipment and modify it in order to ramp up its capability and thought nothing of building his own compressors, equalisers and echo units. The trademark Meek sound combined an extra-terrestrial keyboard, brittle guitars awash with reverb and a spectral vocal all fiercely compressed. He constantly pushed at the frontiers of his studio's technical potential, using it as an instrument in its own right and often applying authentic musique concrète procedures in the perpetual search for new sounds. His knowledge of electronics was as advanced as anyone in Britain at the time. The establishment record labels were intimidated by Joe's inventive genius and moody eccentricity; embarrassed that he could outdo them by producing hit records from a glorified home studio above a leather goods shop on the Holloway Road."
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LP
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BB 317LP
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$22.00
PREORDER
RELEASE DATE: 9/20/2019
LP version. Bureau B present a reissue of Martin Rev's Cheyenne, originally released in 1991. The sphere of Martin Rev's influence and the relevance of his music may well be related to the fact that he was one of the first artists who succeeded in grasping the abstraction of electronic music, infusing it with a sense of immediacy built on raw energy. Whilst the likes of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and Kraftwerk were busy digging in the electronic music garden, Martin Rev found inspiration in the streets of New York. Rev's music is informed by characteristic influences of the city, a place where doo-wop harmonies intermingle with the hiss and hum of the metropolis, dissolving into a collage of noise. So it is that dreamy, chiming melodies blur into ominous whirrs and drones emanating from rhythm machines and layers of distorted synthesizer. This polarity between convergence and alienation describes something deeply American, as reflected in the track names and the cover image of a rodeo rider: "The idea came from the way the tracks sounded as instrumentals. They took on a different visually descriptive dimension, even more so in combination. The visualization was an immediate soundscape of the American landscape. That's where the titles and cover came from." Many of the pieces found on Cheyenne can be traced back to the sessions for the second Suicide album Alan Vega / Martin Rev (1980) which was produced by Ric Ocasek, singer for The Cars. Almost a decade passed before Martin Rev got around to editing and developing the material. "Most of the album was recorded in 1980, but the remaining few tracks from 1988 into the early '90s. The '80s tracks all went under a concerted editing process, to make them work for me even better as instrumentals. I didn't get around to that until there was an offer to release them, which was in the early 90's as well." Indeed, Cheyenne plays out like a rural, yet intense road movie, crossing a landscape rich in beauty and contradictions.
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LP
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MARIONETT 011LP
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$23.00
PREORDER
RELEASE DATE: 9/20/2019
"Valentina Magaletti and Julian Sartorius maintain a dialogue of irregular tempos and off-kilter percussion on their first collaborative record titled Sulla Pelle. Valentina is a force in the world of electronic and experimental music - working with Tom Relleen under Tomaga, jazz/pop band Vanishing Twin, the collective UUUU with a couple of releases on Editions Mego, as well as various collaborations with the likes of Nicholas Jaar and Raime/Moin to name a couple. Julian Sartorius is a denizen in and of the beat -- he's collaborated with artists such as Matthew Herbert, Shahzad Ismaily, Sylvie Courvoisier, as well as touring worldwide and widely through Europe with his solo show on the bill with the likes of Deerhoof, Faust, and Jaki Liebezeit. It's apparent that time is not perceived in an ordinary manner by Julian -- he's released a Beat Diary consisting of 365 beats and, on a daily basis, adds an element to his collage and modifies an 8-second audio loop under the project called Morph. More recently, he played percussion on the track 'Firesmoke' on Kate Tempest's new record The Book of Traps and Lessons. Sulla Pelle chisels away at your headspace at varying velocities with a harmonious flow -- at times gently carving out channels that dramatically flood with syncopated kick drums and shifting propulsive beats. It's as much about monotonous playing as it is about those moments where it seems as though every vertebra branches into tentacles and antennas ricocheting hits in foreign symbiosis. Rasping prepared drums that traverse the body into all sorts of ceremonial throttles, hedonistic arm flails, primal cheer at every incipient dynamic accent. This raw and sparse drumming and percussion record sees Valentina and Julian cueing each other in on interlocked ratchets and clanks with different mallets and metalwork from Malcom Catto's studio on top of modular tinkering and occasional distant subdued ramblings."
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2LP
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AR 119LP
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$30.50
PREORDER
RELEASE DATE: 9/27/2019
DJ Oonops presents Volume 2 of his extensive compilation covering genres from dub, jazz, funk, soul to beats and hip-hop, featuring pretty well-known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his "Oonops Drops" broadcast on Brooklyn Radio (NYC). Be that jazzy beats or virtuoso live jazz drums, keys, and guitars from Japan by Kazumi Kaneda, RF, and 45, aka Swing-O, a first-time-on-vinyl dub remix by Great Britain's Coldcut or a brass cover version of Rihanna's "Stay" by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song "Measly Peace" by Magic In Trees out of Nashville, German beatmaker Twit One with an ill Jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia. Also you're gonna hear a unique and rump-shaking cover version of Blackstreet's "No Diggity" by T Bird & The Breaks, John Turell's powerful voice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork, Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork. Be sure to get your hands on this limited peace of work before it's gone like Volume 1. Also features Ce'Cile & Toddla T, Manasseh, Bird Moves, Amy True, and Nubya Garcia. Gatefold sleeve.
Beside his vinyl-only show on Brooklyn Radio, Oonops is spinning banging club sets to relaxed mixtures for vernissages, museums, or theaters. And furthermore, he works as a product designer and he's listed in the top 50 of Germany's best table tennis players and focuses all his skills in an event which will bring all this together.
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CD
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AR 129CD
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$16.50
PREORDER
RELEASE DATE: 9/27/2019
Wanubalé -- nine guys from Berlin, inspired by the city's fresh jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin. Heavy influences from jazz, neo soul, and funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into dub, bass music, and broken beats. And several members are DJs, as well. The Wanubalés are first-rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair; everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds, and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced, and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.
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2LP
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AR 129LP
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$29.00
PREORDER
RELEASE DATE: 9/27/2019
Double LP version. Gatefold sleeve. Wanubalé -- nine guys from Berlin, inspired by the city's fresh jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin. Heavy influences from jazz, neo soul, and funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into dub, bass music, and broken beats. And several members are DJs, as well. The Wanubalés are first-rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair; everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds, and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced, and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.
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12"
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ATMV 068EP
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
Three new tracks by eccentric Japanese artist boys be kko. "Oreinspotting" is a floating track with a big bass line that keeps going -- well produced as always. "got type B" is a track with a big intro and "Home Run Bat", the title track, shines the way it's arranged. All around, a great EP with a 100% signature sound from Tokyo, Japan.
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12"
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ATMV 069EP
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$14.00
PREORDER
RELEASE DATE: 9/27/2019
Tunnelvisions third original outing since 2018's The Celestial Ritual (ATMV 060LP) and 2017's Midnight Voyage. Channel Tropico offers six tracks that show the diverse sound from the Dutch duo of producers. A must have for fans of percussive sounds and the analog vintage synth work.
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12"
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BAO 073EP
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$14.00
PREORDER
RELEASE DATE: 9/27/2019
Marco Faraone is back on Be As One, collabing with Hertz Collision in a well-crafted EP of house influenced techno in the shape of Elevate, backed up with a storming Alexander Kowalski remix for the title track.
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12"
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BBR 018EP
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
The original freaks SES are back for another mind-melting EP called Saboteur. Completely tuned for a sweaty underground club system, the kicks in "Sounds Like" hit deeper than your typical sound-boy basslines of 2019. "Europa" is on some dystopian Kraftwerk Trans European Express tip with all the attitude you'd hope to squeeze into four-and-a-half minutes. "Hijacker" kicks off the B side with continuing paranoid themes of the SES back catalog. "Flesh Tone" simply jacks you in half and makes you throw shapes like it's 1989.
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LP+CD
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BEC 5650192
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$26.50
PREORDER
RELEASE DATE: 9/27/2019
Because Music present a reissue of Arno's Ratata, originally released in 1990. First vinyl reissue since the album's original release. Ratata includes the hits "Marie tu m'as (Marie Thumas)", "Mon sissoyen", and "Lonesome Zorro". 140 gram vinyl; printed cardboard sleeve and printed innersleeve; includes CD.
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2LP+CD
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BEC 5650193
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$30.50
PREORDER
RELEASE DATE: 9/27/2019
Because Music present a reissue of Arno's À Poil Commercial, originally released in 1999. First vinyl release; includes six rare and unreleased bonus tracks. À Poil Commercial includes the hit "European Cowboy". 140 gram, double-LP; printed cardboard sleeve; includes 30x30cm insert poster; includes CD.
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2LP+CD
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BEC 5650194
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$30.50
PREORDER
RELEASE DATE: 9/27/2019
Because Music present a reissue of Les Innocents' Post-Partum, originally released in 1996. First vinyl release; includes four rare and demo bonus tracks. Post-Partum includes the hits "Colore" and "Un monde parfait". 140 gram, double-LP; printed cardboard sleeve; includes 30x30cm insert with credits and lyrics; includes CD.
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LP
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BEWITH 061LP
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$36.50
PREORDER
RELEASE DATE: 9/27/2019
LP version. 140 gram vinyl; gatefold sleeve; includes 16-page insert with photos and liner notes. For the first time since its inception in 1983, Steve Hiett's elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett's transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York. A career devotee of Brian Wilson's groundbreaking harmonies, Hiett shot The Beach Boys for Rolling Stone -- as well as The Doors, Miles Davis, and Jimi Hendrix -- while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire. In 1982, representatives from Tokyo's Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7" of original music into the back of the exhibition catalogue, Hiett laid down "Blue Beach - Welcome To Your Beach" in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers, and Steely Dan hired-gun, Elliot Randall. Once dispatched, there were requests for him to fly to Tokyo to record; it wasn't until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar, and retreated to his hotel room to start writing. Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders -- one of Japan's most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper, and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of "Roll Over Beethoven", Santo & Johnny's "Sleep Walk" and the 1967 Eddie Floyd soul hit, "Never Found A Girl". Produced in coordination between Be With Records, Efficient Space and the artist, this definitive reissue is restored from original masters; extensive liner notes penned by Mikey IQ Jones.
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LP
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BEWITH 062LP
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$29.00
PREORDER
RELEASE DATE: 9/27/2019
LP version. 140 gram vinyl; includes four-page insert with photos and liner notes. Three emotional years in the making, Be With and Efficient Space present Steve Hiett's Girls In The Grass. Pressed alongside the long-awaited reissue of his one-shot masterpiece, Down On The Road By The Beach (BEWITH 001CD/061LP), these ten Balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist Paris Tapes (1986-1997). While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett's music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. Girls In The Grass reintroduces Hiett's languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine, and then utilize his arsenal of technology. He'd dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett's six-stringed touch. Hiett's guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly's ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. Remastered from the previously unreleased, original masters by Simon Francis. These private moments are adorned with Hiett's singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.
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CD
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BF 009CD
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$15.00
PREORDER
RELEASE DATE: 9/27/2019
Patty Waters is a visionary avant-garde vocalist and composer, best known for her groundbreaking 1960s recordings for the legendary free jazz label ESP-Disk. Captivated by the music of Billie Holiday, she sang with Bill Evans, Charlie Mingus, Chick Corea, and Herbie Hancock before coming to the attention of Albert Ayler, who introduced her to ESP-Disk's Bernard Stollman. The rest is history. Recorded with pianist Burton Greene, Waters' haunting 1966 debut Sings (ESPDISK 1025CD) juxtaposes a side of hushed self-composed jazz ballad miniatures with an iconoclastic take on the standard "Black Is the Color of My True Love's Hair". Sharing Ayler's affinity for the deconstruction of folk idioms, Waters dismantles the tune through a series of anguished wails, moans, whispers, and screams that cemented her reputation as a vocal innovator, predating the extended techniques of Yoko Ono, Joan La Barbara, and Linda Sharrock, and cited as a direct influence to Diamanda Galas and Patti Smith's own freeform vocal excursions. The mythic side-long exposition stands as one of the 20th century's most harrowing expressions of madness and grief, its incantatory mutilation of the word "black" into a full-spectrum monochrome resounding with a particular potency at a time when battles for civil rights were erupting across the country. After recording a second ESP-Disk album in 1996 (ESPDISK 1055CD/LP), Waters disappeared from the music scene, moving from New York to California to raise her son. Her Blank Forms concert on April 5th, 2018 -- with original pianist Burton Greene as well as bassist Mario Pavone and percussionist Barry Altschul, both veterans of Paul Bley's ensembles -- was Waters' first New York appearance since 2003. Dedicated to Cecil Taylor, who had passed away moments before she took the stage, Live preserves the mournful tension that was in the air that night. Her first new release on vinyl since 1966's College Tour, the record divides the session in the spirit of her debut. Side A features a set of desolate ballads, including Waters' own classic "Moon, Don't Come Up Tonight", while the B-side puts into stark relief the fact that the fight for civil rights that Waters invoked over 50 years ago is far from over. Beginning with her rendition of "Strange Fruit", a 1937 song written in protest of black lynching and American racism, the suite's form-bending contortions also features the second-ever recording of Waters' original, exceptional lyrical take on Ornette Coleman's "Lonely Woman."
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LP
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BF 009LP
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$27.50
PREORDER
RELEASE DATE: 9/27/2019
LP version. Patty Waters is a visionary avant-garde vocalist and composer, best known for her groundbreaking 1960s recordings for the legendary free jazz label ESP-Disk. Captivated by the music of Billie Holiday, she sang with Bill Evans, Charlie Mingus, Chick Corea, and Herbie Hancock before coming to the attention of Albert Ayler, who introduced her to ESP-Disk's Bernard Stollman. The rest is history. Recorded with pianist Burton Greene, Waters' haunting 1966 debut Sings (ESPDISK 1025CD) juxtaposes a side of hushed self-composed jazz ballad miniatures with an iconoclastic take on the standard "Black Is the Color of My True Love's Hair". Sharing Ayler's affinity for the deconstruction of folk idioms, Waters dismantles the tune through a series of anguished wails, moans, whispers, and screams that cemented her reputation as a vocal innovator, predating the extended techniques of Yoko Ono, Joan La Barbara, and Linda Sharrock, and cited as a direct influence to Diamanda Galas and Patti Smith's own freeform vocal excursions. The mythic side-long exposition stands as one of the 20th century's most harrowing expressions of madness and grief, its incantatory mutilation of the word "black" into a full-spectrum monochrome resounding with a particular potency at a time when battles for civil rights were erupting across the country. After recording a second ESP-Disk album in 1996 (ESPDISK 1055CD/LP), Waters disappeared from the music scene, moving from New York to California to raise her son. Her Blank Forms concert on April 5th, 2018 -- with original pianist Burton Greene as well as bassist Mario Pavone and percussionist Barry Altschul, both veterans of Paul Bley's ensembles -- was Waters' first New York appearance since 2003. Dedicated to Cecil Taylor, who had passed away moments before she took the stage, Live preserves the mournful tension that was in the air that night. Her first new release on vinyl since 1966's College Tour, the record divides the session in the spirit of her debut. Side A features a set of desolate ballads, including Waters' own classic "Moon, Don't Come Up Tonight", while the B-side puts into stark relief the fact that the fight for civil rights that Waters invoked over 50 years ago is far from over. Beginning with her rendition of "Strange Fruit", a 1937 song written in protest of black lynching and American racism, the suite's form-bending contortions also features the second-ever recording of Waters' original, exceptional lyrical take on Ornette Coleman's "Lonely Woman."
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LP
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BFR 008LP
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$23.00
PREORDER
RELEASE DATE: 9/27/2019
"A warp trail of cosmic metal that brings to bear every sonic weapon in Howling Giant's vast arsenal, The Space Between Worlds tells the story of a space-faring huntress who travels the infinite metaphysical worlds that span humankind's dreams. A dynamic voyage of searing riffage, dark atmospherics and golden-throated vocal melodies for fans of Baroness, Mastodon, The Sword, and Elder."
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LP
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BING 151LP
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$25.00
PREORDER
RELEASE DATE: 9/27/2019
"While recording a group of songs that would end up being part of This World Just Eats Me Up Alive, Brian Crook took a break outside with his bandmates. A small girl nearby ran up to a woman saying 'Mommy, mommy! There's a vampire here!' The mother asked how the girl knew it was a vampire, and the girl said, 'He talks like this,' and proceeded to do a growling impression of a New Zealand accent. At the time, Brian was in a dark suit and had super long hair, and was playing badminton... Crook's new solo album comprises eight years of recording, so perhaps his undead appearance is not surprising; it comprises a span of inspiration that seems almost vampiric, with themes suggested by Greek mythology, a favorite 1960s author, to the abstract electronics of Aphex Twin and Arca as influences. The album came together in parts, slowly assembled with various contributors and recording locations, the earliest trace having lyrical origins from 1991, and was done during sessions for The Terminals, Crook's other band (you can also add NZ legends Scorched Earth Policy and Flies Inside The Sun to that list). A near decade provides a lot of material for reflective songwriting. In Crook's revelations about life in New Zealand and his tenebrous lyrical style there is more than a touch of comedy, albeit of a blackly humorous, 'South Island New Zealand' nature. The lyrics and music come from a similar place as New Zealand painters Bill Hammond and Tony de Latour, evoking a kind of ceremonial primitivism."
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CD
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BOT 017CD
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
Polarlichter is the debut album from Alice Hubble. It's an album of melancholic pop layered by vintage synths and elegant vocals. Alice Hubble is the new solo project of London based Alice Hubley and the product of one lady locked at home with her enormous collection of synthesizers. The album Polarlichter was born out of a desire to work on a project without constraints, to move away from the traditional song writing process and to experiment with the form. Inspired by the '70s recordings by Tangerine Dream, Ashra, and Kraftwerk, Alice wanted put a distinctly feminine take on the '70s Germanic synth sound. Other inspirations included Delia Derbyshire, Daphne Oram, Lee Hazlewood's Swedish recordings, '80s American synth pop band The Book of Love, and contemporary acts like Jane Weaver and Goldfrapp. Constructing and sketching riffs on her iPad during monotonous train journeys throughout the country, Alice built up her fragmentary ideas using vintage synthesizers and a mellotron creating something majestic, and sweeping. The album offers a soundscape of pastoral solace, far removed the urban sprawl. Includes "Goddess" named as Steve Lamacq's Single of 2019.
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CD
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BT 050CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Full title: In the past only geniuses were capable of staging the perfect crime (also known as a revolution) Today anybody can accomplish their aims with the push of the button. For its 50th release, Black Truffle presents the ninth album from one of the label's core ensembles, the power trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi. Drawn from a November 2015 performance at Tokyo's now-defunct SuperDeluxe, the record's opening piece drops us immediately into the maelstrom, abruptly cutting into an extended episode of Ambarchi's pummeling drums, O'Rourke's fuzzed-out six-string bass, and Haino's roaring guitar and electronics. Eventually settling into a hypnotic bass and drum groove over which Haino unleashes some almost Ray Russell-eque skittering atonal screech, these opening 13 minutes act as a potent reminder of the trio's power. Alongside showcasing the steady development of a unique language for the guitar-bass-drums power trio, the group's succession of releases over the last decade has demonstrated a constant experimentation with new instruments, which continues here with O'Rourke use of Hammond organ (played at the same time as his roaming, sometimes knotty basslines). On the album's second piece, the organ plays a key role, furnishing a harmonically rich shimmer over O'Rourke's angular six-string bass chords, Haino's distant, chirping electronics and Ambarchi's crisp cymbal work; arriving somewhere halfway between Albert Marcoeur and Terje Rypdal, this piece is undoubtedly a highlight in the trio's catalog so far. The second and third sides are slow-burning, multi-part epics that range from spacious reflection to furious tumult. Where the trio's previous double-LP set -- This Dazzling, Genuine "Difference" Now Where Shall It Go? (BT 030LP, 2017) -- was primarily instrumental in focus, here you find Haino's voice taking the spotlight on the expansive third side, intoning, wailing. and exhorting in Japanese and English over a backdrop that moves from hushed bass and organ atmospherics to rolling toms and cymbal crashes before arriving at an ecstatic finale of searing guitar, tumbling drums and reverb-saturated bass. The fourth side returns to the hypnotic grooves of the opening piece, fixing on a relentless riff and riding it into oblivion under Haino's roaming psychedelic soloing and jagged chordal slashes. Cover image by Traianos Pakioufakis; Live action pics by Ujin Matsuo. Mastered and cut by Rashad Becker at Dubplates & Mastering. LP design by Lasse Marhaug; gatefold sleeve.
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CD
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BT 053CD
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$15.50
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RELEASE DATE: 9/27/2019
Black Truffle present Reservoir 1: Preservation, a gorgeous piece by American composer/percussionist Sarah Hennies. Sarah's work explores a variety of musical, sociopolitical, and psychological issues including queer and trans identity, love, intimacy, psychoacoustics, and percussion. The Reservoirs are a series of three one-hour pieces based on the relationship between the conscious and unconscious human mind. Jung and Freud described the unconscious mind as a reservoir, a repository for memories that we don't readily need access to, yet are kept forever somewhere in our minds. Specifically, Freud believed that one function of the unconscious mind is to store traumatic memories, filed away so that we don't have to confront them every day. The conscious mind has no direct access to the unconscious, yet the unconscious is a constant yet mysterious presence in our lives. Reservoir 1: Preservation is scored for piano and three percussionists, performed by Phillip Bush and Meridian, the long-running experiment in percussion, improvisation, and interpersonal relationships that includes Tim Feeney, Sarah Hennies, and Greg Stuart. In Preservation the piano functions as a constant, pervasive, but almost subliminal murmur amid the percussion playing that cycles through a variety of timbral and gestural areas, including gentle droning, frenetic scraping, and bricks violently dropped into metal buckets. The percussion group never interacts with or responds to the piano, while the piano subtly absorbs aspects of the trio. Preservation was recorded, mixed, and mastered by Jeff Francis at the University of South Carolina and performed by Meridian: Tim Feeney, Sarah Hennies, Greg Stuart (percussion), and Phillip Bush (piano). CD digipak with design by Lasse Marhaug; Cover photo from Abby Grace Drake's photo series, Shopping Carts of Southside Ithaca.
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12"
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COMET 089EP
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$17.50
PREORDER
RELEASE DATE: 9/27/2019
Comet presents the second release from its Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor and Pat Thomas and disco re-edits by Monsieur Scott and 2 Paris Septembre. "Peace On Earth" by Ebo Taylor is a track from the album Twer Nyame (1978). Monsieur Scott, the Paris-based Afrobeat scientist comes back with a deep and soulful Afro-house remix. "We Are Coming Home" by Pat Thomas is a classic highlife anthem originally released on Stage 2 (1980). The production of 2 Paris Septembre, a duo of two Parisian brothers, is a mix of electronic music, Afrobeat, and hip-hop.
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LP
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COS 028LP
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$23.00
PREORDER
RELEASE DATE: 9/27/2019
"The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n' roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica's reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don't know about the country at all, let alone about the rich sounds it has to offer. Bredda David Obi set out to change that in 1984 with the release of his debut LP No Fear, and the introduction of a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played in various bands during his years as a journeyman musician in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul is proud to take part in documenting Bredda David's journey into the soul of Belize with an anthology of his early recordings including tracks from No Fear, Cungo Musik (1987) and We No Wa No Kimba Ya (1990) albums. Bredda David's kungo is hard to describe exactly -- its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne."
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LP
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CREP 063LP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
Comic book artist, graphic designer, and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet and Johnny Kafta Anti-Vegetarian Orchestra, Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of misdemeanor. 14 years after his first (and only) solo album Brt Vrt Zrt Krt (Al Maslakh, 2005), Mazen returns with a series of loud oozes (entirely) of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer. Showcasing his very own and singular arsenal of squawks, cackles, howls and squeals the notion of being transported to a luring mutant underwater alien community is only occasionally dispelled with the sporadic passages of fluctuating tones and pulsations, like a restful humpback whale puffing on a hookah pipe at the ocean's deep end. Mazen pulls out all the proverbial stops here, displaying a unique mastering of the instrument and its improbable add-ons creating various vignette like episodes rich in texture and variations -- unlike anything else out there -- not that you'd knew anyway. Where Vol. 2.1 shows an astounding use of the instrument without recurring to cuts, overdubs, or electronics, Vol. 2.2 raises (or shatters) the bar with its intentional use of everything Vol. 2.1 was denied. And Mazen is right about advising his listeners, the sounds emitted on each record are beyond the limits of believable. Either he is using tricks or just prepared techniques the results go far beyond the reach of a normal or casual listener. Listen to the albums back-to-back and you'll understand.
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LP
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CREP 064LP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet and Johnny Kafta Anti-Vegetarian Orchestra, Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination. 14 years after his first (and only) solo album Brt Vrt Zrt Krt (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer. Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol. 2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans lose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that's the way it should be. If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you're ready to listen to it again. Listen to both albums back-to-back, in no particular order and you'll know that there's nothing you can do but come back to it like a doped-up seal stranded in a phantom island -- appearing and disappearing as the music dictates it to.
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3CD BOX
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CRSEGBOX 058CD
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$29.00
PREORDER
RELEASE DATE: 9/27/2019
"Initially coming together during a Fontana-era lull in The Pretty Things' prodigious career, the band's now-legendary body of work for music library de Wolfe as The Electric Banana saw their alter-egos become parallel universe superstars, their work utilised by film and TV producers in everything from soft-porn skin-flicks, a Norman Wisdom vehicle and horror classic Dawn Of The Dead to small-screen ratings winners like Dr. Who, The Sweeney and Minder. In the Sixties, the Banana recordings mirrored British pop's gradual evolution into rock, courtesy of brass-led Swinging London ravers ('Walking Down The Street', 'Danger Signs'), primal garage punk ('Street Girl', 'Love Dance And Sing') and maximum psychedelia ('Eagle's Son', 'Alexander'). They switched gears again in the Seventies, confidently mixing swaggering bar-band hard rockers ('The Loser', 'Sweet Orphan Lady'), putative terrace-anthems ('Whiskey Song'), metal-based rock ('Maze Song', the Hendrix tribute 'James Marshall') and jangly, Byrds-inflected power pop ('Do My Stuff'). Taken from the original master-tapes, the 3-CD set The Complete De Wolfe Sessions represents a number of firsts: the first-ever legitimate CD issue of these recordings (authorised by both The Pretty Things and de Wolfe), the first time that the Banana's Sixties and Seventies work has been made available under one roof, and the first time that the karaoke-anticipating backing tracks have been made commercially available. Housed in a clamshell box that includes a lavish illustrated booklet, The Complete De Wolfe Sessions incorporates the original albums artwork, an extended essay on the band, quotes from pivotal members Phil May, Dick Taylor and Wally Waller, and some priceless photos of the classic 'Even More Electric Banana' line-up, taken from the summer-of-'68 Swinging Southport film What's Good For The Goose."
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CD
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CSR 267CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
The tenth album from The Telescopes is full of wall-to-wall psychedelic drones, swaying chants, trance-inducing shoegaze, and "suspended-in-space magnificence" (Julian Cope). Stone Tape is a concept album inspired by "Stone Tape Theory" (or "residual haunting"), theorized by Thomas Charles Lethbridge in 1961. The archaeologist, parapsychologist, and explorer developed the idea that inanimate materials can absorb energy from living beings, and that this mental electrical energy, released during emotional or traumatic events, could somehow be "stored" in such materials and "reproduced" under certain conditions. The hypothesis has been known as "Stone Tape Theory" since the cult 1972 TV screenplay Stone Tape by Nigel Neale. Recorded in Powderhorn Minneapolis, The Vicarage, West Yorkshire, and The Experimental Health Unit. Originally released as a limited-edition LP by Italian publishing house Yard Press in 2017 (YP 001LP), this CD edition contains a bonus 14-minute version of the track "The Living Things", recorded in Switzerland in 2018. Digipak with new artwork by Stephen Lawrie. Mastered by Martin Bowes at The Cage. Layout by Abby Helasdottir.
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CD
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CSR 275CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Trepaneringsritualen return to Cold Spring Records with an album-long ritual working entitled ᛉᛣ - Algir; eller Algir i Merkstave. This record -- constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ - T × R × P -- is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛣ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is Union & Dissolution. Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ. T × R × P channeled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ∀⚭∀, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. - July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid. CD version comes in six-panel digipak.
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CD
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D 77066CD
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
World class sax player meets world class big band. Groove in a fine style. The Cologne Stadtgarten venue was crammed that mid-February eve in 2011. A very special concert was scheduled for the night -- and the audience did arrive in crowds at the Stadtgarten in Cologne to be part of this rare opportunity. The American saxophonist Bill Evans was in town to perform with the WDR Big Band. The crowd's anticipation of a sublime live concert made the air crackle with excitement. The temperature was rising quickly and the vibe was getting better and better. Evans has always loved that sort of setting. When the audience is already excited before the show even starts and the musicians are incredibly focused on what is about to unfold, he reaches his true working temperature which enables him to deliver a top performance on stage, performing on the tenor- or soprano saxophone. Especially for the WDR Big Band concert with Bill Evans two "groove-masters" were invited; the German drummer Wolfgang Haffner and the Cameroon-born and France-based Etienne Mbappé. Not only is their playing technique fully developed but both, Haffner as well as Mbappé, are gifted with the ability to roll out a densely woven groove-carpet while simultaneously electrifying the rhythmical roots of a piece of music. As a result of this, the stylistically diverse music of Evans and the WDR Big Band is well and truly animated -- and starts to sound like a living organism. Personnel: Bill Evans - saxes; Etienne Mbappé - electric bass; Wolfgang Haffner - drums; WDR Big Band. CD version comes in a digipak.
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2LP
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D 78066LP
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$25.50
PREORDER
RELEASE DATE: 9/27/2019
Double LP version. 180 gram vinyl. World class sax player meets world class big band. Groove in a fine style. The Cologne Stadtgarten venue was crammed that mid-February eve in 2011. A very special concert was scheduled for the night -- and the audience did arrive in crowds at the Stadtgarten in Cologne to be part of this rare opportunity. The American saxophonist Bill Evans was in town to perform with the WDR Big Band. The crowd's anticipation of a sublime live concert made the air crackle with excitement. The temperature was rising quickly and the vibe was getting better and better. Evans has always loved that sort of setting. When the audience is already excited before the show even starts and the musicians are incredibly focused on what is about to unfold, he reaches his true working temperature which enables him to deliver a top performance on stage, performing on the tenor- or soprano saxophone. Especially for the WDR Big Band concert with Bill Evans two "groove-masters" were invited; the German drummer Wolfgang Haffner and the Cameroon-born and France-based Etienne Mbappé. Not only is their playing technique fully developed but both, Haffner as well as Mbappé, are gifted with the ability to roll out a densely woven groove-carpet while simultaneously electrifying the rhythmical roots of a piece of music. As a result of this, the stylistically diverse music of Evans and the WDR Big Band is well and truly animated -- and starts to sound like a living organism. Personnel: Bill Evans - saxes; Etienne Mbappé - electric bass; Wolfgang Haffner - drums; WDR Big Band.
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12"
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DIYNAMIC 118EP
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$12.00
PREORDER
RELEASE DATE: 9/27/2019
ELAX's latest Bescio EP on Diynamic. "Bescio" is full of raw energy synths, exciting percussive solos, a hypnotic bassline, and disco drums. Then "With Lou" -- pack up your things, reminisce of the marvelous time you've had. Like warriors after battle, exhausted but endlessly happy.
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CD
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DLS 002CD
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
The Daydream Library Series release Angeltalk by Katherina Bornefeld, best known as "Kat", the drummer of Holland's long-running and legendary anarcho-punk experimental noise n' rhythm rockers The Ex. Unbeknownst to most, Kat is a practicing sound healer of note and this album is a sonic meditation of spirit music where the mind and body embrace into sentient peace. A beautiful wholly other experience of listening where the essence of vibratory love comes to play.
"Releasing Katherina Bornefeld's debut recording Angeltalk is a dream come true for Eva and I at Daydream Library. As huge fans of Kat's band The Ex we were enchanted by the fact that she herself is a practicing sound healer. We asked her to present a recording of her work and she delivered a gorgeous and deep spirit musical meditation CD. Listen, soar, sleep, dream, awake into positive vibrations." --Thurston Moore
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3CD BOX
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DLS 004CD
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$25.50
PREORDER
RELEASE DATE: 9/27/2019
A collection of three extended compositions by Thurston Moore recorded between 2018-19. This collection represents a period of reflection on spiritual matters, collective musical friendships, and a time and space universally, without words or languages to distract from meditation. "Alice Moki Jayne" is a new composition from noise guitar explorations honoring Alice Coltrane, Moki Cherry, and Jayne Cortez. These female partners of jazz musicians brought spirituality into the lives and music that has most inspired Thurston Moore. Recorded in Brussels in 2019; Personnel: Thurston Moore, James Sedwards, Jen Chochinov - 12-string electric guitar army; Deb Googe - Baritone bass, truth, and soul; Jem Doulton - Magick drums; Jon Leidecker - Electronic Wobbly love; Christophe Albertijn - Engineer. "8 Spring Street" is a personal homage to Glenn Branca, the title an address is in New York City, the apartment where Thurston first visited his mentor to rehearse. Recorded in London, UK in 2019; Personnel: Thurston Moore - Electric guitar; Syd Kemp - Engineer. "Galaxies" is an orchestral piece of music, with Moore as conductor and composer. Twelve guitarists are arranged as if one instrument, exploring the vast emotional depths present in twelve strings. Taking inspiration from a poem by Sun Ra, "Galaxies" ponders our place in the universe as we stare into imagery offered by satellites via space agencies. Recorded in London, UK in 2018; Personnel: Thurston Moore, David Toop, Susan Stenger, James Sedwards, Deb Googe, Alex Ward, Jen Chochinov, Jonah Falco, Rachel Aggs, Joseph Coward, Eugene Coyne, James McCartney - Guitar Army; Beetmol Troy and Matt Tag - Guitar technicians. Includes an artist book edited by Thurston Moore with photographs compiled during the process of creating the accompanying musical works and is available exclusively within this boxset; 20 pages.
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12"
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EA 002EP
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$16.50
PREORDER
RELEASE DATE: 9/27/2019
What's Amore? Amore is a lifestyle, it's a feeling, it's an attitude. Amore is cruising down sunset boulevard in a pink Cadillac. Amore is drinking Long Island ice tea at a baby shower. Amore is high octane. High risk. High reward. That's Amore!
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12"
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EF 093EP
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$12.50
PREORDER
RELEASE DATE: 9/27/2019
Endless Flight's old friend "Sasse" comes back to label for the first time since 2007. His homie, veteran artist Jimi Tenor joins the new single. Endless Flight are fans of their collaboration on Studio Barnhus. The title track on side A is a super romantic, '80s style vocal disco track. Side B track is spiritual jazzy deep house.
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CD
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EMEGO 268CD
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$17.00
PREORDER
RELEASE DATE: 9/27/2019
"Masochism is cruel because, in subverting the model, it imposes it with exaggerated severity..." --Amy Ireland
Florian Hecker's latest CD release continues his work with computational techniques for analysis and re-synthesis. In Inspection II, you hear the progressive reconstruction of original source material using algorithms based upon human hearing and designed to capture timbral characteristics of sound. As the source is iteratively extracted from featureless noise, a complex ongoing dialogue commences between formal model and empirical experience of sound. Like Charon, the boatman who ferries souls of the dead across the styx, Inspection II crosses perpetually from one bank to the other: from the formal anticipations of analysis to the unexpected artefacts of synthesis. In Robin Mackay's libretto, recited by a synthetic voice, this inspective dialogue is transferred to the introspective psychoanalytic situation, where the continual re-narration of the self creates further disturbances and transformations -- to attain a definitive image of oneself would be to face one's own death. As discussed in Amy Ireland's essay "Beside a Cold Statue" commissioned for the CD sleeve notes, this process, whose symptomatology is recognizably that of masochism, sees the coldness of the formal model subverted as Hecker's continual re-synthesis delivers up a series of harsh, tantalizing, and bewildering textures and timbres. 16-page booklet. Written and produced by Florian Hecker, 2016-17. Synthetic Voice: Christophe Veaux, CSTR, The University of Edinburgh. Liner notes: Amy Ireland. Mastering: Rashad Becker.
"Inspection II is a very particular composition which deserves a privileged position not only in relation to attempts to exhaust and remove the unknown borders of the sonic universe, but also among the various endeavors of Expanded Psychoanalysis. By transcending the unique authority of Freudian discourse, by alienating and synthesizing the dialogue of analyst and analysand, by penetrating the realm of that babble that is the obvious origin of human language and communication, designated by Jacques Lacan as lalangue, Inspection II discloses a space beyond representation, and hence beyond sense, intelligibility and significance. In order to imagine the inconceivable and unattainable unconscious of an apparently amorphous real that lies outside the structured network of reality with its mediating instances of the imaginary and symbolic orders, Florian Hecker's project suggests an all-pervading realm of sounds and noises considered as one of the purest utterances of existence. Closing the screen of the cerebral computer, psychoanalysis emerges as the hard disk's synaptic music, echoing the big bang of our psychic genesis." --August Ruhs (Psychiatrist, Psychoanalyst, University of Vienna)
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CD
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EZRDR 109CD
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$15.00
PREORDER
RELEASE DATE: 9/27/2019
"Fire is what happens when a carbon-based object is consumed by oxygen. That chemical reaction is fitting to the sound of Firebreather: the riffs are suffocating, the rhythms fast-moving and all-consuming. It's so blindingly and deafeningly monolithic, don't be surprised to be gasping for air while listening. The Gothenburg, Sweden trio has a streamlined focus on driving, symphonic riffs in the vein of High On Fire, Inter Arma and their tour and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Like watching flames engulf a forest, the billowing guitar tones are simultaneously beautiful and destructive, while the rhythms sway and lunge with vicious precision. 'It's riff-based, heavy as fuck, but with a groove to it,' explains vocalist/guitarist Mattias Nööjd, formerly of popular Swedish doom merchants Galvano. 'We had gotten off a tour with Monolord in February of 2018 and by that time we had the song 'Firebreather' done," but soon thereafter new drummer Axel Wittbeck joined the fold. 'Once Axel had joined, it was like the flood gates opened,' says bassist Kyle Pitcher. 'The rest of the album just came together.' Under A Blood Moon was recorded at Elementstudion in Gothenburg with engineer Oskar Karlsson, who also recorded the band's lauded 2017 self-titled debut on Suicide Records."
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2LP
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EZRDR 109LP
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$30.00
PREORDER
RELEASE DATE: 9/27/2019
Double LP version. "Fire is what happens when a carbon-based object is consumed by oxygen. That chemical reaction is fitting to the sound of Firebreather: the riffs are suffocating, the rhythms fast-moving and all-consuming. It's so blindingly and deafeningly monolithic, don't be surprised to be gasping for air while listening. The Gothenburg, Sweden trio has a streamlined focus on driving, symphonic riffs in the vein of High On Fire, Inter Arma and their tour and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Like watching flames engulf a forest, the billowing guitar tones are simultaneously beautiful and destructive, while the rhythms sway and lunge with vicious precision. 'It's riff-based, heavy as fuck, but with a groove to it,' explains vocalist/guitarist Mattias Nööjd, formerly of popular Swedish doom merchants Galvano. 'We had gotten off a tour with Monolord in February of 2018 and by that time we had the song 'Firebreather' done," but soon thereafter new drummer Axel Wittbeck joined the fold. 'Once Axel had joined, it was like the flood gates opened,' says bassist Kyle Pitcher. 'The rest of the album just came together.' Under A Blood Moon was recorded at Elementstudion in Gothenburg with engineer Oskar Karlsson, who also recorded the band's lauded 2017 self-titled debut on Suicide Records."
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CD
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FD 119CD
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
Advancing the post-punk infused concoction of blazing garage and art-driven destructs-rock, as established on Hand & Leg's grinding self-titled debut from 2017, the bass and drums are here cranked to new heights of molten activity. Murky shades of sexual negativity plough forth with the help of obsidian distortion, careering bass dirges so scuzzed they can clog arteries, ungodly squalls of paint-stripping noise, and a tendency towards playful rhythmic rituals themselves only offering brief respite from the merciless and sweat-drenched sonic saturation perfect for the late night clutches of a dingy basement. This CD version includes bonus track "Omonoia", which will also appear on a forthcoming limited-edition 10" compilation on Fourth Dimension, Low Expectations.
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2x12"
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FEINES 017EP
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$29.00
PREORDER
RELEASE DATE: 9/27/2019
Ketapop's finest, Ninze from Leipzig, drops his first solo vinyl on limited Feines Tier. Comode 01 is a selection of productions in a comfy BPM and mood. Draped by diverse styled remixes of long-term friends DWIG, Nicola Cruz, Philipp Fein, and Schlepp Geist.
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LP
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FON 104LP
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$19.50
PREORDER
RELEASE DATE: 9/27/2019
Phono Ghosts presents his fourth collection of cassette tape memories brought back from the celestial library of ferric dreams. Warm Pad, Sharp Stab sees Phono Ghosts delving deeper into down-tempo territory with a heady concoction of night-swoon mood beats, portentous synth pulsing and DX-driven funk, mixed with drifting mystical atmospherics, '80s TV soundtrack melancholia, cosmic ceremonials, and swirling fretless bass romanticism. Fuzzy analog swells and digital fantasy bells. Warm pads, and sharp stabs.
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LP
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FTR 459LP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
"Recorded a bit before the last Big Blood slab we released -- Operate Spaceship Earth Properly (FTR 385CD/LP, 2018) -- The Daughter's Union represents the true introduction of Caleb and Colleen's daughter, Quinnisa as a full member of Big Blood. The Maine-based duo had been using Quinnisa as their secret hard rock weapon for quite a while, so it is gratifying as heck to see her finally get her due! In their new fully-fledges trio guise, Big Blood puff themselves up like a most splendid glam rock peacock, fairly bursting with readymade-riffs and inspirational high kicking energy bursts. Initially, this can seem a bit odd, given Big Blood's historical appreciation of bizarre folk-derived textural-psych. But heard in the context of their musical evolution, this move appears as just another roost along a trail that involves a whole lot of mountains and woods, with the occasional meadow-based rock festival stirred into the mix. By covering tunes by the Troggs and Silver Apples, Big Blood make it abundantly clear their interests are as far from catholic as their influences. Although it also seems that they are able to successfully transmute even the most thumpy-ass high-heel pumping into a move that is draped in moss and mystery. I can hardly wait to hear their track-by-track cover of Led Zeppelin II. I always thought those songs would sound better sung by an actual woman. Know what I mean?" --Byron Coley, 2019 Edition of 250.
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LP
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FTR 466LP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
"The aural pleasure created by this somewhat mysterious trio of London musicians continues to accrue. After two fine self-released records (one a 7", th' other a 12"), and the superb Drip Water Hollow Out Stone on the great Ever/Never label, Feeding Tube is honored to present the Mosquitoes' latest assault on the temples of beauty. The music on Vortex is of a piece with earlier recordings. By this, I mean there is a wonderfully 'out' approach to basic rock instrumentation and vocals, which détourns the basic assumptions listeners have about what rock instruments sound like. A good number of bands have done this in the modern era, from This Heat to U.S. Maple, but the only band the Mosquitoes continually call to my mind is late period Mars. That NYC unit had pretty much destroyed conventions of song and structure by the time they called it a day, and the instrumental/vocal mangling these guys do is equally brilliant. They really take every piece of sound apart and put it back together in a weird way. There are passages on Vortex that actually make me think of early Suicide as well (I think they use amp-noise-loops to approximate Rev's keyboards), but none of the music here has the aggression of Suicide. Instead, it projects a transcendent sense of confusion that is as head-scratching as it is appealing. If you like your music to be equal parts brains and power, you won't find many things more satisfying than the music of the Mosquitoes. Every one of their records is great. And they just keep getting better. How lucky for you." --Byron Coley, 2019 Edition of 250.
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LP
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FTR 492LP
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$22.00
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RELEASE DATE: 9/27/2019
"The Lloyd Pack is a project the prolific Dan Melchior has taken in a variety of directions. The band has been composed of various people, sometimes it's large, sometimes it's small, and the music's nature has always been unpredictable. On Holiday, recorded at various places and assembled in Raleigh, NC, is one of the Pack's small format efforts. For most of the music the only players are Mr. Melchior and vocalist Russell Walker (of the Pheromoans, among other bands). They are sometimes joined by Dan's not-infrequent collaborator, Anthony Allman, and on one track by the late Letha Rodman Melchior (once the drummer of Ecstatic Peace combo, Cell). And unlike the Pack's last LP, 2015's faux-Afrique A Tribute (Amish), the music here is generally low-key art-rock with somewhat raw characteristics. Of course, trying to cage Melchior's music with mere words is always problematic. Even his most garage-y antics always have a whiff of sophistication lurking somewhere, and his most dastardly high-art moves always seem to have absurdist grooves built into them somewhere. For On Holiday, The Lloyd Pack uses audio clips of what I assume to be the late Kentish actor after whom it named (Roger Lloyd-Pack), but these introductions often lead into dangerously riff-heavy cul-de-sacs where Walker lays down casual lyrics, while Melchior spins music that usually begins in utter simplicity and ends up running head first into a wall of blubber. Not really sure how he does it, but Dan has mad alchemical chops. And it just kinda works out. In a way On Holiday with... is one of the most generously balanced records Melchior has ever done. It often hovers in a sweet spot somewhere between pop and dunt and art, like Rod Stewart's riding a bucking boar in zero gravity. Or something. Regardless, you won't want to miss the spectacle. And in a way, it's the perfect entree to the wide wild world of Daniel Melchior. Welcome, friend." --Byron Coley, 2019 Edition of 250.
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12"
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FUCK 006EP
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$14.50
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RELEASE DATE: 9/27/2019
When Smallpeople went touring Australia for the third time in 2016, the label played a gig in Brisbane and had an amazing time hanging with James Hilan, a young gun from the local scene -- a heavy vinyl collector and bad-ass DJ. He took the label to the Wheel of Brisbane for their first vape experience ever, and after some good laughs, they became friends. When James sent over some of his deep yet pumping tracks a few years later, Smallpeople were blown away. Now they're given a home on Fuck Reality. Typography and full cover artwork by Stefan Marx.
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2LP
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GET 51310LP
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$33.00
PREORDER
RELEASE DATE: 9/27/2019
'Illmatic, the 1994 studio debut of Nasir 'Nas' Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G., it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel 'JoJo' Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking 'Street Dreams', and the Grammy-nominated 'If I Ruled The World (Imagine That)', and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more."
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2LP
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GET 52716LP
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$25.00
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RELEASE DATE: 9/27/2019
2019 repess. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.
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12"
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GMNV 010-3EP
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
In order to celebrate five thrilling and inspiring years, Goldmin Music gathered well-known artists, Goldmin regulars and emerging talents. Vol. 3 features Ian Simmonds, Larry Heard aka Mr. Fingers, Thomas Brinkmann, Teleseen, Ectomorph vs The Fantasy, and Ark.
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LP
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GY9 001LP
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$25.00
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RELEASE DATE: 9/27/2019
"Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as numerous other albums of his singular songcraft. Grapefruit is proud to be releasing Jefferies' latest, Last Ticket Home, which leaves the station early in his career when The Last Great Challenge In A Dull World left off and takes us on a guided tour of a fascinating side street via rare singles, both released and unreleased, radical live interpretations, and a wealth of never released material dating from 1991-2019. Last Ticket Home redefines Jefferies' artistic journey, giving us a song cycle narrative which scorches, blisters and eventually heals on its relentless, ragged way home."
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CD
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GZH 092CD
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$15.50
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RELEASE DATE: 9/27/2019
For Burdened and Bright Light is the fifth full-length album from A-Sun Amissa. This new work builds on the foundations of previous record Ceremony In The Stillness (GZH 085CD/LP, 2018), incorporating some of the heavier, distorted, guitar-oriented themes but this time fuses them with broken, crumbling electronic beats and primal drone movements. The result is two long-form pieces of work that take time to unfold and multiple listens to truly digest what is on offer. The music of A-Sun Amissa has evolved some-what naturally over the years, drawing from elements of dark-ambient, post-rock, and minimal doom, but always with a leading experimental edge and a huge amount of room to push the boundaries back as far as possible. For Burdened and Bright Light feels like the next logical chapter in the journey. Essentially, A-Sun Amissa is the project of Richard Knox (Gizeh Records founder, The Eternal Return Arkestra curator, member of The Rustle of the Stars, Shield Patterns, and Glissando) who has utilized a vast array of other musicians throughout the group's previous records. This time around though it's almost exclusively the work of Knox who continues to embed his typical DIY approach in writing, recording, and mixing the entire album, alongside providing the artwork. On a sonic level For Burdened and Bright Light is the furthest Knox has gone in terms of production, depth, and working with a more diverse palette of sounds. A-Sun Amissa's distinct atmosphere remains intact however and the result is a more immersive, ambitious, adventurous record of conflicting emotions as the theme of the work tackles the contradictions of being human and explores the duality of light and dark, hope and despair. The two compositions found here are underpinned by vast ambient passages that are drenched in distortion and reverb, slowly unfurling before more industrial, kinetic sounds are introduced and heaving guitars come to the fore. The clarinet work of Claire Knox features prominently and ranges from huge, droning, orchestral overtones in the opening section of "Breath by Breath" to a wild, free-jazz explosion in the middle of "Seagraves". The addition of David Armes's lap-steel for the first time brings a discordant and haunting element to the sound and builds on the recent live work this trio have done together.
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2LP
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HAM 021LP
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$34.00
PREORDER
RELEASE DATE: 9/27/2019
Odd Nosdam came to prominence as beat-smith with experimental hip-hoppers, cLOUDDEAD, as well as being co-founder of the Anticon label. A string of critically lauded solo releases culminated in 2016's Sisters LP (title track remixed by Boards of Canada) and 2019's Mirrors LP (N 067LP) which saw the West Coast producer at the peak of his powers. Flippies Best Tape features a massive 66 tracks over four sides of wax. Digging fathoms deep in the crates, Odd Nosdam's source material comes from super rare records that you've never heard of, many of them private pressings. From plaintive deep soul cuts, gritty chitlin' circuit funk, blues-y '60s garage band sessions, through to some seriously heavy psych-rock freak-outs and all manner of weirdness in between, the scope of this record is mind bending. But it doesn't stop there, mashed up into this heady brew you'll also pick up hints of gospel, jazz, dub, and space-y West Coast acid. And the whole thing is neatly stitched together with snatches of film dialogue providing the narrative thread. So many disparate influences could make for an unfocussed smorgasbord of a record, but Nosdam has honed his skills over the years to such a degree that these 66 tracks, 80 total minutes, have been sculpted and shaped with precision into a work that is as lithe and supple as it is kaleidoscopic and exhilarating.
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LP
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HG 1903LP
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$23.50
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RELEASE DATE: 9/27/2019
Remo Seeland's Hollow Body is a suspenseful exploration of the interaction between sound environments and individual perception. It was sparked by an intense physical experience the Swiss artist had during a residency in New York City. "The subway became a sort of 'atonal symphony' for me, provoking a full-body experience with the rattling of the overcrowded, airless trains," the Hallow Ground founder explains. "However, while the old subway is not exactly beloved by everyone, it also represented for me the melancholic meta-level of the moloch above it." The album, his first under his given name, makes this disparity audible over six tracks in which the visceral and the personal become at once abstract and universal. Based on field recordings from both urban and rural environments, Hollow Body aims to mirror another of Seeland's psycho-sonic encounters. "In the highlands of Iceland, I noticed my pulse lowering and my breathing decelerating," he says. "Just shortly after that, a single insect's buzzing seemed so loud to me that I became even more aware of the silence surrounding me." Silence, perception, order, and the curious dialectics of the outside world and the inner workings of the human psyche are the central questions of Hollow Body. Recorded in New York, Reykjavík, and Zurich, Hollow Body draws extensively on field recordings and sees Seeland collaborating with Hallow Ground-affiliated artists Norman Westberg (Swans, guitar on "Body Innovation" and "Hollow City") and Reinier van Houdt (Current 93, e-bowed guitar on "Hollow City" and Rhodes organ on "Pulse Points Green"), as well as the Swiss-based US-American musician Steve Fors (Deaf At Sea, trombone on "Second Coming"). The diversity of the source material is mirrored in the stylistic richness Seeland lays out with this LP. From the lush, bass-heavy drones of the opener "Body Innovation", to the downbeat-driven "Second Coming" and, finally, the haunting organ sounds of "Night Within", Hollow Body forms a holistic entity that integrates idiosyncratic compositions into a coherent narrative.
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CD
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HTH 115CD
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$15.50
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RELEASE DATE: 9/27/2019
Offworld started off with the question: "what if Jam & Lewis signed to Metroplex?" Offworld is the third of four albums from Special Request in 2019. Paul Woolford, aka Special Request, has a BBC Radio 1 Residency show. CD version comes in silverfoil laminated gatefold sleeve.
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2LP
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HTH 115LP
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$33.00
PREORDER
RELEASE DATE: 9/27/2019
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CD
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IMR 033CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Trentemøller returns with his fifth studio album, Obverse. Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he's most adept at is the studio itself. Obverse is the result of him expanding that skill even further. Obverse often feels like an instrumental album because it started life as one, the driving philosophy being "what if the pressure of having to perform these songs live is removed entirely?" Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It's a work method that yielded great results for the legendary German kosmiche/motorik experimentalists of the 1970s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche. So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion (IMR 021LP/021LTD-CD/021LTD-LP, 2016) left off. For the past decade, Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks. By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own. CD version comes in a digipac.
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2LP
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IMR 033LP
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$25.50
PREORDER
RELEASE DATE: 9/27/2019
Double LP version. Gatefold sleeve; includes printed inner sleeves; ; Includes a black and a white color vinyl. Trentemøller returns with his fifth studio album, Obverse. Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he's most adept at is the studio itself. Obverse is the result of him expanding that skill even further. Obverse often feels like an instrumental album because it started life as one, the driving philosophy being "what if the pressure of having to perform these songs live is removed entirely?" Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It's a work method that yielded great results for the legendary German kosmiche/motorik experimentalists of the 1970s. Intentional or not, Obverse embodies more than a little of that spirit without even a hint of pastiche. So it only makes sense that Obverse would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While Obverse was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and Obverse absolutely picks up where Fixion (IMR 021LP/021LTD-CD/021LTD-LP, 2016) left off. For the past decade, Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, Obverse is the first time each song has felt like a collection of pocket soundtracks. By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately Obverse resides in a genre all its own.
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LP
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ITS 229LP
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$23.00
PREORDER
RELEASE DATE: 9/27/2019
LP version. 180 gram vinyl. The long-awaited new studio album. For the recordings, Tito Larriva chose a studio near his hometown. He grew up in El Paso, Texas, and always wanted to record in this studio called Sonic Ranch, less than an hour away. He thought it would be fun to be near his dad while recording the new album. Larriva drew energy from his father, the desert, and all the magical moments he carries in his heart. From what he calls home. 8 Arms To Hold You captures the colors and smells of the desert, it's passionate and romantic. Along with Tito's electrifying vocals, another masterpiece in his long and successful career as a musician, composer, and actor.
Tito & Tarantula is the US-American Chicano rock/blues rock band formed in Hollywood, California in 1992 by singer/songwriter/guitarist Tito Larriva, best known for its songs, "After Dark", "Back to the House That Love Built", "Strange Face of Love", and "Angry Cockroaches", as well as for its role in Robert Rodriguez's film From Dusk Till Dawn (1996) as the band performing at the Titty Twister nightclub. "After Dark" was the track played during Salma Hayek's iconic exotic dance scene in that film, and later became the theme for From Dusk Till Dawn: The Series.
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CD
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ITS 230CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
The long-awaited new studio album. For the recordings, Tito Larriva chose a studio near his hometown. He grew up in El Paso, Texas, and always wanted to record in this studio called Sonic Ranch, less than an hour away. He thought it would be fun to be near his dad while recording the new album. Larriva drew energy from his father, the desert, and all the magical moments he carries in his heart. From what he calls home. 8 Arms To Hold You captures the colors and smells of the desert, it's passionate and romantic. Along with Tito's electrifying vocals, another masterpiece in his long and successful career as a musician, composer, and actor.
Tito & Tarantula is the US-American Chicano rock/blues rock band formed in Hollywood, California in 1992 by singer/songwriter/guitarist Tito Larriva, best known for its songs, "After Dark", "Back to the House That Love Built", "Strange Face of Love", and "Angry Cockroaches", as well as for its role in Robert Rodriguez's film From Dusk Till Dawn (1996) as the band performing at the Titty Twister nightclub. "After Dark" was the track played during Salma Hayek's iconic exotic dance scene in that film, and later became the theme for From Dusk Till Dawn: The Series.
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KH 9090LP
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$25.50
PREORDER
RELEASE DATE: 9/27/2019
Frank Zappa and the Mothers of Invention, live from the Theatre De L'Olympia, Paris, France October 26th, 1968. This was the final night of the Mothers' 1968 European tour and finds the band pulling out all the stops to deliver an outstanding show. Broadcast on Radio France, its highlights include one of the best renditions of "King Kong" they ever gave and a superb "Hungry Freaks, Daddy", as well as some typically acidic repartee from Zappa. The entire Radio France broadcast is presented here, digitally remastered, with background notes and images.
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CD
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KK 114CD
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$14.50
PREORDER
RELEASE DATE: 9/27/2019
Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: Lost Something Good (Speed of Sound, 2010) and Watch It Watch (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene. After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label. On his third album, Elektrisk Guitar, the many different influences Hansen has gathered as a composer, solo performer, session musician, and producer shine through. The concept of limitation -- an album composed for and played with solo guitar -- is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach. Elektrisk Guitar is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, Elektrisk Guitar offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in. Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.
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LP
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KK 114LP
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$19.50
PREORDER
RELEASE DATE: 9/27/2019
LP version. Includes postcard; edition of 300. Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: Lost Something Good (Speed of Sound, 2010) and Watch It Watch (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene. After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label. On his third album, Elektrisk Guitar, the many different influences Hansen has gathered as a composer, solo performer, session musician, and producer shine through. The concept of limitation -- an album composed for and played with solo guitar -- is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach. Elektrisk Guitar is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, Elektrisk Guitar offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in. Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.
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2CD
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KOMP 154CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
You may ask: "In the day and age of streaming playlists and the omnipresence of freely available mixes, what's the use of a label compilation?" The answer is simple: labels still serve as a dearly needed filter mechanism in this tsunami of music we're facing every day. Labels strive to establish trust between artists and listeners. They're like your favorite restaurant around the corner. On the spur of the moment, you might find more excitement in that hip place that just opened somewhere else. But when the novelty fades, you'll always return to your sanctuary. The safe place where they know your name and the last drink is on the house. Kompakt has become such a place for generations of fans and artists alike. And the Total compilation series serves as its menu: always changing but instantly recognizable. As per usual, Total is a collection of the past year's biggest tunes, the creme de la creme of Kompakt's steady output of 12-inches. With Jürgen Paape, the notorious Voigt brothers, Thomas/Mayer, and Jörg Burger -- all founding fathers are on board. Legacy artists Sascha Funke and Justus Köhncke make their long-awaited comebacks, the latter with a kinky Patrick Cowley homage called "Mindless Sex Track". Cologne young blood Julian Stetter nails the starry-eyed, romantic Kompakt signature sound with his remix for an up-and-coming local pop outfit called Albert Luxus. Fellow Colonian Jonathan Kaspar makes his label debut with his slinky track "Renard". DJ Balduin definitely is one to watch in 2020. His massive "E.W.B.A." transcends the friendly populism of an ancient Love Parade anthem while capturing the sincere spirit of today's electro revival. Rex The Dog's "Vortex" and Tom Demac's "Serenade" perfectly showcase why Kompakt is still one of the most played and charted labels in electronic music today. In a scene that is more fragmented than ever these two producers delivered true consensus hits that are cherished on all sizes and shapes of floors beyond genre boundaries. The second half completely belongs to a whole new breed from the label's beloved Speicher series such as ANNA, Yotam Avni, Extrawelt, Raxon, Blackrachas, John Monkman, and La Fleur alongside the label's full-time members Patrice Bäumel, Kölsch, and Gui Boratto. Double-CD version also includes Weval, Julian Stetter, Reinhard Voigt, Anii, Clarian, Fahrland, James Monro, and an unreleased Jörg Burger.
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LP
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KR 065LP
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$20.00
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RELEASE DATE: 9/27/2019
Turkish free jazzers Konstrukt continue their series of exciting collaborations with Ken Vandermark, one of the key figures of Chicago's vivid jazz scene. After two critically acclaimed albums with the Japanese avant-garde/noise icon, Keiji Haino, Konstrukt return with a new inspiring collaborative mind: Ken Vandermark, who for three decades now has been a highly prolific musician in contemporary jazz and free improvisation. With various groups like NRG Ensemble, Spaceways Inc., The Vandermark 5, Made To Break, or the Peter Brötzmann Chicago Tentet (to name just a few) and various spontaneous collaborations the saxophone/clarinet player has created an impressive catalog and performed/recorded with the who-is-who of today's jazz/improv scene: Paal Nilssen-Love, Hamid Drake, Fred Anderson, Paul Lytton, Joe Morris, The Ex, Axel Dörner, Mats Gustafsson, Joe McPhee, Zu, Peter Brötzmann, Paul Lovens, Lasse Marhaug, Yakuza, Kevin Drumm, and many more. Vandermark's enduring exploration and development of new paths in (free) jazz and improvisation not only made him a key figure of the vivid Chicago scene (since the days of AACM, a hotspot for musical creativity), but also gained the him the reputed Mac Arthur Fellowship in 1999. In November 2018, Konstrukt (who themselves can look back on a long list of class A collaborators like Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, or Alexander Hawkins) met Vandermark in their homebase Istanbul for a recording session -- a match made in heaven that all musicians involved are extremely happy with. The resulting album, Kozmik Bazaar, starts with a reference to Ornette Coleman before turning more and more into a psychedelic trip that goes way beyond the "jazz idiom". But what else to expect from such a stellar constellation? Personnel: Kontstrukt: Korhan Futacı - alto saxophone, instant loops, vocal; Umut Çağlar - electric guitar, synthesizer, gralla, guimbri; Apostolos Sideris - double bass; and Berkan Tilavel - drums, electronic percussion; with Ken Vandermark - tenor saxophone, clarinet. Recorded by Ozan Öner at Pür Recording Studio, Istanbul. Mixed by Korhan Futacı and Umut Çağlar. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. 180 gram vinyl; includes download code.
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CD
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KSCD 012CD
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$14.00
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RELEASE DATE: 9/27/2019
2019 repress. The mighty Jah Stitch was a legend in Jamaica, making the move as so many ghetto youths have tried from "Bad Man" to "Music Man". Jah Stitch embraced the DJ culture that he himself was an integral part. He put not one but two musical stamps on the format. His initial big youth sounding chants grew from working alongside the man on the mic. The second almost spoken vibe came about after a well-documented incident that led to him being shot. He lived to tell the tale and cut some of the finest roots DJ cuts, with his new vocal style that many copied but few have surpassed. Kingston Sounds have selected some of his best-known tracks to show the knack of working a killer rhythm and dubbed vocal with an almost call-and-response story telling style. The opening and title track to this set "Dread Inna Jamdown" sees him working over John Holt's "In The Springtime". The second cut "Dem Seek Natty Everywhere" works another John Holt classic, "Forgot to Say I Love You". After some hits in the 1970s, the 1980s would see a short name change to Major Stitch. But his best loved moniker Jah Stitch serves the man well. So sit back and enjoy some fine DJ Cuts. No Dread Can't Dead... Jah Stitch R.I.P. CD version includes two bonus tracks.
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CD
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KSCD 084CD
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$12.50
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RELEASE DATE: 9/27/2019
Orange Street, Kingston, Jamaica: the epi-center of the reggae world. Where all the record shops, studios, pressing plants were based. The new cut 45s would be taken to the shops after a testing on various sound systems and passed to the record shop proprietors to sell. Bunny Lee as a former record plugger and now a leading producer knew what the people wanted and he had a great ear for a hit tune. Some-A-Holla Some-A-Bawl collects some of the stand out tracks from this period, when music was finding a new beat as rocksteady rolled into the late-60s early-70s reggae sound. The Ravers' "Mati And Fulli" telling the story that the "Rent Too High" to the Twinkle Brothers' "Miss Laba Laba" -- you see and blind you must hear and deaf -- clean up your own backyard before talking about others. All stories of daily life and love songs told over a cracking rhythm played by finest musicians on the island. So yes "Some-A-Holla Some-A-Bawl" as Max Romeo would say but it can't be denied that all the tunes on this selection are of a fine pedigree. Features The Ravers, Winston Shand, Max Romeo, Twinkle Brothers, The Claridonians, Doreen Shaffer, Slim Smith, Delroy Wilson, The Sensations, Derrick Morgan & Hortense Ellis, Roy Shirley, Ken Parker, and Dave Barker. CD version includes three bonus tracks featuring Max Romeo, The Melodians, The Ravers.
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LP
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KSLP 012LP
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$19.50
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RELEASE DATE: 9/27/2019
LP version. 2019 repress.
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LP
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KSLP 084LP
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$20.00
PREORDER
RELEASE DATE: 9/27/2019
LP version. Orange Street, Kingston, Jamaica: the epi-center of the reggae world. Where all the record shops, studios, pressing plants were based. The new cut 45s would be taken to the shops after a testing on various sound systems and passed to the record shop proprietors to sell. Bunny Lee as a former record plugger and now a leading producer knew what the people wanted and he had a great ear for a hit tune. Some-A-Holla Some-A-Bawl collects some of the stand out tracks from this period, when music was finding a new beat as rocksteady rolled into the late-60s early-70s reggae sound. The Ravers' "Mati And Fulli" telling the story that the "Rent Too High" to the Twinkle Brothers' "Miss Laba Laba" -- you see and blind you must hear and deaf -- clean up your own backyard before talking about others. All stories of daily life and love songs told over a cracking rhythm played by finest musicians on the island. So yes "Some-A-Holla Some-A-Bawl" as Max Romeo would say but it can't be denied that all the tunes on this selection are of a fine pedigree. Features The Ravers, Winston Shand, Max Romeo, Twinkle Brothers, The Claridonians, Doreen Shaffer, Slim Smith, Delroy Wilson, The Sensations, Derrick Morgan & Hortense Ellis, Roy Shirley, Ken Parker, and Dave Barker.
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12"
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KYN 013EP
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$12.50
PREORDER
RELEASE DATE: 9/27/2019
Michal Wolski joins Kynant with a diverse, four-track EP of hyper-detailed techno. "Back Entry" and "Inferior Representation" are peak time cuts with hypnotizing touches. On "Bathyscaphe" and "Wanderer", Wolski explores more a melodic, atmospheric direction.
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12"
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LENSKE 007EP
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$12.50
PREORDER
RELEASE DATE: 9/27/2019
Amelie Lens returns to drop her second solo release on Lenske. First in line, the hard-hitting "Helium" blurs the dancer's mind through a haze of understated sub-bass moves and sonar bleeps. Carried through by Amelie's signature vocals, "Man Over Machine" continues down the hypnotic path with unrelenting efficacy, before the stadium-sized steamroller "Little Robot" takes you to a raving climax. Last but not least, the aptly named "Storm" raises the BPMs to ensure maximal impact until the very final moments. Transparent vinyl.
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12"
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LM 012EP
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$12.00
PREORDER
RELEASE DATE: 9/27/2019
Making their debut on Labyrinth Music is the mysterious duo, Senses Of Mind. In original form, "Origins" is a classic slice of contemporary prog with Eastern promise. Belgian superstars and Labyrinth residents, Joyhauser toughen the groove keeping the main motifs for a solid techy reworking. Kevin de Vries's unique take on the trancey end of techno has taken the scene by storm. In keeping with the ideals of the '90s Belgian pioneers such as CJ Bolland and Yves Deruyter his remix builds into an enormous stadium-shaking behemoth.
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CD
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MACROM 058CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
Turntablist and sound artist Maria Chavez turns in her first continuous full-length audio work. Plays is a DJ mix CD that doesn't feature any tracks. It is a remix of a work whose original doesn't feature recorded sound. It is a minimalistic yet complex electroacoustic work, literally built from scratch, bootstrapping sound out of sheer silence: creatio ex nihilio. The story of this album starts with a record given to Chavez as a birthday present. It is Stefan Goldmann's Ghost Hemiola (MACROM 022R-EP, 2013), a double vinyl set of empty locked grooves. The record contains no sound whatsoever other than the vinyl's own surface noise. Chavez's work with records and turntables usually features a rich layer of recorded audio which is transformed, cut up and rearranged by a wide range of fearless physical manipulations. By contrast Ghost Hemiola is a blank canvas, unveiling her craft in its purest form, unobstructed by any audio content other than the sounds of the medium itself. Breaking up the medium is happening both ways here, literally as well as figuratively. Unlike with her live performances, for Plays Chavez employs digital processes extensively, zooming into minute details of sound and the artefacts of both mediums, the tangible vinyl record and disembodied digital audio. Narrowing down shards of sound to extremely short frames creates metallic timbres, reverberating quasi-spaces, and percussive layers. Slowing down the tempo until sound halts at one sample of its digital representation brings forth emergent frequencies, which Chavez then uses to play melodies -- vaguely resembling her analog technique of playing melodies by skipping a stylus back and forth across a test tone record. This thorough investigation of the unobstructed vinyl medium with digital means is distilled into a one-hour composition on this album. By the way -- Chavez and Goldmann share the same birthdate.
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CD
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MEGAIMP 116CD
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$15.50
PREORDER
RELEASE DATE: 9/27/2019
This CD, released on the occasion of "The Fairy Tale Factory" exhibition, contains the eight tales at the heart of the scenography imagined for the exhibition. These stories from traditional repertoires have been handed down orally over several generations and traveled across Europe, from the Mediterranean to Scandinavia and the Celtic countries to the Balkans. Rewritten in a contemporary version by the writer Fabrice Melquiot, these stories, performed by eight men and women storytellers aged from ten to ninety-nine, are presented in a sound setting composed by Gabriel Scotti who drew his inspiration from recordings conserved in the MEG's Archives internationales de musique populaire. The tales in music are followed by the eight musical tracks of G. Scotti's compositions. Included booklet presents the texts of the tales accompanied by drawings, paintings, and photographs of dioramas in paper cut-outs, done by Carll Cneut, Camille Garoche, Kalonji, and Lorenzo Mattotti, the four illustrators invited to bring these tales to life for the exhibition. Tales performed by: Olivier Chiacchiari, David Jakobowicz, Julie Henoch, Cyril Kaiser, Isis Lengo, Camille Mermet, Pauline Robert, Jean Vigny. Features guest musician: Raphael Daniel - bass clarinet.
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3LP/4CD/SHIRT BOX
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MEGAUK 030BOX
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$130.00
PREORDER
RELEASE DATE: 9/27/2019
Massively delayed, label says it possibly arrives sometime in 2019, format may change. The Karen Dalton Archives Box includes for the first-time ever on vinyl: the 1962 double live album Cotton Eyed Joe remastered (on two LPs) and the 1963 home recordings album Green Rocky Road remastered. Also includes three CDs of the same material along with one CD of unreleased home recordings which includes a mesmerizing take on "God Bless The Child". Includes a 52-page book with scans of Karen Dalton Personal Archives (writings, photographs, memos) disclosed here for the first time. DVD of a film interview of Greenwich Village Folklore Center founder (1957-1973) Izzy Young by Megaphone label's Stéphane Bismuth about the Greenwich Village folk scene and Karen Dalton; Double-sided DVD with one side NTSC format/one side PAL format Includes digital download card.
Press about Cotton-Eyed Joe (1962/2007) and Green Rocky Road (1963/2008):
"All the informality of someone thinking aloud, which suits her signature vocals perfectly. In overdubbing, she seems to consider tempos and time signatures almost as restricting as a real studio. A particularly personal statement, a career marker."
"Like a lost book of the Old Testament. Less like a folk record and more like a warp in the space-time continuum. The most beautiful and harrowing album you'll hear this year. The results are startling. Her rendering of 'Katie Cruel' on In My Own Time has been hailed as definitive but she improves it here. Bewitching."
"Proving her masterly command of both the material and the audience."
"Using her uncluttered fingerpicking and keening phrasing to a reimagine a pair of lesser known Ray Charles numbers to devastating effect."
"Sounds great. The set captures a side of Dalton that her original releases never could. Such a personal statement it's far more challenging."
"An invaluable treasure" --Pitchfork, 8/10.
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2LP
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MET 1186LP
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$27.00
PREORDER
RELEASE DATE: 9/27/2019
"The ultra heavy beat returns! Blending techno innovation, punk snarl, metal aggression, Paradise is an impactful set of dance beats, crunching guitars, & the dual vocal attack of founder Sascha K. & Lucia Cifarelli. Paradise finds a focused, furious, fed-up KMFDM at its finest. Standout tracks such as K-M-F, Paradise, & Disturb The Peace stand as a bold declaration of purpose, a call to action."
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LP
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MIG 991LP
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$28.00
PREORDER
RELEASE DATE: 9/27/2019
"When the band Agitation Free came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free -- soon relegated to the not so flattering category of 'Krautrock' -- made musical forays into areas that few of their fellow German musicians had ever penetrated. At a time when most in Germany were still orienting themselves as closely as possible to Anglo-American musical formats, Agitation Free found a completely new and very original form of musical expression. Starting with their debut album Malesch, Agitation Free delivered a fascinating sound, influenced not least by the manifold impressions from a Near East tour. The band moved toward a form of meta-music, a weaving of exotic-sounding compositions. The album has been justly regarded as a milestone in the genre, especially abroad. Looking back, it's evident that the Agitation Free was one of the most important bands of the experimental circle known as the 'Berlin School', and a career springboard for a whole slew of musicians. At the same time, this policy of changing personnel also meant risking that the band couldn't keep itself together over the long run. Agitation Free consciously took this risk in order to remain as close as possible to their own concept - free from commercial pressure or concessions to the latest trends and modes."
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LP
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MOLLIB 001LP
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$23.00
PREORDER
RELEASE DATE: 9/27/2019
"Modern composers, from Holst to Suzanne Cianni to Sun Ra, differ in how space is represented sonically. There are as many interpretations as there are composers willing to engage the search. A common thread weaves between them: space created instead of space filled. The sounds of space are limitless in a vacuum. But how can they be experienced if not from a safe haven? Laika Speaks, so named for the famed Russian dog, approaches this question with a minimalist approach to modular synthesis and a healthy dose of electronic delay. Their debut album, Red Rocket Right Return, is an interpretation of the sounds of the cosmos as imagined through the perspective of the titular Sputnik canine; a record that questions just what Laika might have heard during her journey around the Earth. Additional inspiration comes from a truly eccentric grab bag of sounds, including Space Race-era satellite transmissions, morse code, and HAM radio. The listening experience of Red Rocket Right Return is evocative of drifting, the isolation of space travel, the lonely emptiness of the unknown, and the vastness of the universe. An album for the Voyager Spacecraft in your life."
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CD
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MST 007CD
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$16.50
PREORDER
RELEASE DATE: 9/27/2019
Aghane Servicet - Al Hajj Transportation is a live recorded album that includes a compendium of songs that simulate the living conditions of some Arab countries, including Lebanon, from the onset of the Arab spring until now. It is the product of a series of live shows (consisting of songs with original music and lyrics) that took place at Metro al Madina theater in Lebanon. Features Maryam Saleh, Roberto Kobrosli, Yasmina Fayed, Sandy Shamoun, and Ahmad El Khateeb.
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12"
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MUS 195EP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
Obsessió's debut is a blast of crude hardcore. Formed during the extremely dark times of August of 2018 and based between Athens and Barcelona the band first statement is an eight-track 12" at 45rpm which knocks you down with the first chord. Kindly indebted to the living legacy of Totalitär, Crudity, and other Nordic Beat greats while keeping an unmistakably modern swagger. Breakneck pace and musical manufacture care of three Greeks who have set the stage for Angela's no doubt bleak summary of the world in a distinctively intimidating and minimal powerhouse voice.
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LP
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MUS 198LP
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$22.00
PREORDER
RELEASE DATE: 9/27/2019
After two albums and an EP on Southern Lord and Svart Records, Finland's Kohti Tuhoa unleash their 12-track LP Ihmisen Kasvot on La Vida Es Un Mus. Ihmisen Kasvot presents killer songwriting with influences ranging from powerful Killing Joke -- like tom-tom beats to fast-paced hardcore punk á la Impalers -- with several nods to classic Finnish hardcore punk bands, such as Varaus. The 12 tracks paint a picture of an overpopulated dystopian world that's being slowly destroyed by self-centered human behavior, delivered with Helena's piercing yet versatile vocal work. Recorded at VR Studio in Turku, Finland. Mastered by Jack Control (Enormous Door). Comes in a sleeve painted by artist Jaakko Karjula.
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LP
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MUS 200LP
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$23.50
PREORDER
RELEASE DATE: 9/27/2019
Official reissue of No Side, the debut from seminal Japanese hardcore band The Comes. Originally released in 1983 on Dogma Records, a newly created City Rocker's side label to release hardcore/hard punk, No Side remains a milestone of first wave Japanese hardcore. A vital document to understand the days when the Tokyo hardcore scene was small and unknown with G.I.S.M., Execute, Gauze, and The Comes as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. The Comes' music is frantic and sharp punk, bass-driven and manic sounding with vocalist Chitose's aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave hardcore acts, they own their own sound. And although many times imitated, it has never been matched. Comes in an old-school, paste-on board sleeve with a faithfully replicated insert.
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12"
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NT 009EP
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$14.00
PREORDER
RELEASE DATE: 9/27/2019
John Daly's amazing It's All Around You EP (NT 008EP, 2018) gets remixed by German virtuosos Losoul and Benjamin Brunn and the results are as diverse as stunning: while Benjamin Brunn morphs "One Four Tee" into subtly swinging electronica, Losoul expands "Stay Close" into an unbelievable 11-minute groove ride between house and techno, as tight as epic.
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LP
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OM 043EP
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$20.00
PREORDER
RELEASE DATE: 9/27/2019
Free Love, the artists formerly known as Happy Meals return to Optimo Music with Extreme Dance Anthems, a phantasmic mini-album from their hearts to yours. They say: "We recorded Extreme Dance Anthems in our recently moved studio, 'Full Ashram Celestial Garden' which is now situated in a building that holds both a church below us and a sex club next door. Most of the tracks were formed from late-night sessions that we started to kind of ritualistically hold, inspired from a particular thought or idea that we later cut down and did a live mixdown of. The music is about physicality and the metaphysical -- it is about a recontextualization of the ineffable as a center point of existence which in turn influences how we engage with everything around us. A celebration of the unquantifiable, unspeakable, indivisible experience as the throne from which all ideas are derived. Even though the world is fucked -- we are here. On the face of it -- I realize that this description might just seem like apolitical hippy bullshit but fuck that -- as a deliberate result of the modern political landscape, our societies' individual and collective disengagement with the metaphysical has led us to treat other humans, animals and our environment like resourceful statistics rather than something that actually holds any inherent value. An Inner Revolution of the foundations of our reality in a way that reintroduces the essence of existence, and not merely its describable derivatives, into the conversation of how we should live our lives informs our perception of the world in a way that demands us to act. The record is about a kind of gradual awakening between the two of us -- a reconnection with the magic around us. The ineffable is not without moments of illumination -- mostly in the form of immediate absurdity: One day we will all be dead but here we are alive instead. The record is called Extreme Dance Anthems because it made us both laugh."
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CD
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OPT4 033CD
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$12.50
PREORDER
RELEASE DATE: 9/27/2019
Complete 22-track collection of The Cigarettes entire recorded output. CD version includes 20-page booklet. It was at the tail end of what would later be loosely termed "The Seventies", in Lincoln, Merry England, that three teenagers formed -- the consequences of their actions are captured here. You Were So Young consists of everything that The Cigarettes ever recorded in what was their two-year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their flip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record. Their debut single "They're Back Again, Here They Come", exchanges hands from upwards of £100 and "You Were So Young" has been viewed on YouTube over 1.3 million times. Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long. Includes an in-depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes. CD version includes 20-page booklet.
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2LP
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OPT4 033LP
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$33.00
PREORDER
RELEASE DATE: 9/27/2019
Double LP version. 180 gram vinyl; Gatefold sleeve; Includes poster, sticker, and badge. Complete 22-track collection of The Cigarettes entire recorded output. CD version includes 20-page booklet. It was at the tail end of what would later be loosely termed "The Seventies", in Lincoln, Merry England, that three teenagers formed -- the consequences of their actions are captured here. You Were So Young consists of everything that The Cigarettes ever recorded in what was their two-year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their flip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record. Their debut single "They're Back Again, Here They Come", exchanges hands from upwards of £100 and "You Were So Young" has been viewed on YouTube over 1.3 million times. Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long. Includes an in-depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes.
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CD
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PAN 098CD
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$16.50
PREORDER
RELEASE DATE: 9/27/2019
Deriving from the acclaimed performance and exhibition -- staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation -- the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event. Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organizing the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. The album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy. Faust is anchored around three pieces -- "Medusa's Song", "O.W.E.N.", and "Queen Song" -- written and sung by performers Eliza Douglas and Franziska Aigner. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act -- the brutal chorus of Douglas' "Faust's Last Song", a pulsing canon of looped and layered voice pierced by black metal screams -- the record admits the listener into the inner space of Imhof's dramatic vision of power, complicity, and vulnerability. Faust shifts hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity. The release of Faust illustrates the centrality of music to Imhof's artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof's Angst (2016) and recently her performance trilogy Sex (2019). Includes expansive booklet of photography by Nadine Fraczkowski. Mixed by Nanni Johansson at Hansa Studios and Ville Haimala; mastered by Rashad Becker at Dubplates & Mastering. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin/Cologne/New York.
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2LP
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PAN 098LP
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$27.50
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RELEASE DATE: 9/27/2019
Double LP version. Deriving from the acclaimed performance and exhibition -- staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation -- the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event. Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organizing the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. The album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy. Faust is anchored around three pieces -- "Medusa's Song", "O.W.E.N.", and "Queen Song" -- written and sung by performers Eliza Douglas and Franziska Aigner. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act -- the brutal chorus of Douglas' "Faust's Last Song", a pulsing canon of looped and layered voice pierced by black metal screams -- the record admits the listener into the inner space of Imhof's dramatic vision of power, complicity, and vulnerability. Faust shifts hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity. The release of Faust illustrates the centrality of music to Imhof's artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof's Angst (2016) and recently her performance trilogy Sex (2019). Includes expansive booklet of photography by Nadine Fraczkowski. Mixed by Nanni Johansson at Hansa Studios and Ville Haimala; mastered by Rashad Becker at Dubplates & Mastering. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin/Cologne/New York.
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5CD BOX
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PARTBOX 013CD
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$46.00
PREORDER
RELEASE DATE: 9/27/2019
With over 125 rare tracks, C'mon! C'mon! represents the first ever boxed anthology of Scottish beat music. Tracing the roots of the Scottish pop and progressive music scenes during its halcyon 1963-1969 period, C'mon! C'mon! highlights a lesser-known history that would richly contribute to the more widely acknowledged British 1960s music scene overall. While Lulu and Donovan may have made the successful journey to pop stardom, later iconic names such as the Average White Band, Stone The Crows, and the Sensational Alex Harvey Band would have their roots firmly placed in their native music scenes from Glasgow to Falkirk, Dundee, Edinburgh, Aberdeen, and the Orkneys. Boasting analytical liner notes, original memorabilia, and extensive, archival period photos, C'mon! C'mon! offers an exciting journey through the history of Scottish rock and pop. Full-color 96-page, perfect bound booklet with detailed liner notes and rare images.
Features The Golden Crusaders, The Tremors, The Athenians, The Blues Council, Alex Harvey and the Soul Band, Bobby Patrick Big Six, Take Five, The Phantoms, The Sabres, The Black Ring, Isabel Bond, The Echo Sounds, The Mark Five, The Boston Dexters, Campbelltown Zodiacs, The Nomads, The Jaguars, The McKinleys, Johnny Deen and the Deacons, The Anteeeks, The Hi-Fi's, The Luvvers, The Poets, The Poor Souls, The Chevlons, The Maverix, The Profile, The Road Hogs, Studio Six, The Buzz, Alex Harvey, The Senate, The Beatstalkers, Gidian with Chris Lamb and the Universals, The Scots Of St. James, John Deen and the Trakk, Johnny and the Copycats, Karl Stuart and the Profiles, The Fifth Column, Dean Ford and the Gaylords, The Vikings, James Galt, The Big Six, One In A Million, O'Hara's Playboys, The Voice, The Stoics, The Scenery, Jason's Flock, The Pathfinders, Hopscotch, My Dear Watson, The Marmalade, The Societie, Cartoone, Chris McClure, Grapefruit, Lee Drummond, The Humblebums, Alex Campbell, Spiggy Topes, Alan Trajan, White Trash, Tam White, House Of Lords, Trash, Writing On The Wall, Clouds, The Human Beast, Charles Brutus McClay, and N.S.U..
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2LP
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PBREDD 756LP
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$40.00
PREORDER
RELEASE DATE: 9/27/2019
Gatefold; green vinyl. "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level, aided by the singles 'The Wagon' and 'Whatever's Cool With Me', a non-album EP of new material and live recordings, all of which are included here. Critically lauded on release, Green Mind remains one of the band's strongest collections, and a firm fan favorite. Collected together here for the first time with related singles, B-sides and live recordings, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a thorough snapshot of the band at a period when all eyes were on American guitar groups, many of whom owed their existence to Dinosaur Jr."
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2LP
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PBREDD 757LP
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$40.00
PREORDER
RELEASE DATE: 9/27/2019
Gatefold; Blue vinyl. "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Where You Been, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of. Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band's most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single 'Start Choppin'. Released to unanimously positive reviews, and containing many tracks that would become staples and fan favourites, Where You Been continued Dinosaur Jr's global ascent, being issued simultaneously across the US, Europe, Australasia, Asia and South America. Collected together here on vinyl for the first time with related singles, B-sides and John Peel session recordings, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band in rampant form riding a hard-earned wave of popularity and credibility."
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2LP
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PBREDD 758LP
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$40.00
PREORDER
RELEASE DATE: 9/27/2019
Gatefold; Yellow vinyl. "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Without A Sound, their sixth record, emerged in the summer of 1994, in the wake of personal bereavement and the departure of longtime drummer and founder member Murph. Performed primarily by J Mascis, Without A Sound continued the band's growth in popularity and commercial achievement, reaching #44 in the US (their highest ever album placing there) and featuring the hit singles 'Feel The Pain' and 'I Don't Think So'. Released to positive reviews, Without A Sound also took Dinosaur Jr around the world, including dates in Australia, New Zealand and Japan, and into the mainstream as the group contributed Blah to the hit US TV show Melrose Place. Collected together here on vinyl for the first time with related singles and B-sides, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band at the height of their international appeal and accessibility."
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2LP
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PBREDD 759LP
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$40.00
PREORDER
RELEASE DATE: 9/27/2019
Gatefold; Purple vinyl. "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band's final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I'm Insane 7" single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever."
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2CD
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PCDBRED 756CD
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$19.00
PREORDER
RELEASE DATE: 9/27/2019
"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire's international reach took Dinosaur Jr's reputation to a new level, aided by the singles 'The Wagon' and 'Whatever's Cool With Me', a non-album EP of new material and live recordings, all of which are included here. Critically lauded on release, Green Mind remains one of the band's strongest collections, and a firm fan favorite."
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2CD
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PCDBRED 757CD
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$19.00
PREORDER
RELEASE DATE: 9/27/2019
"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Where You Been, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of. Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band's most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single 'Start Choppin'. Released to unanimously positive reviews, and containing many tracks that would become staples and fan favourites, Where You Been continued Dinosaur Jr's global ascent, being issued simultaneously across the US, Europe, Australasia, Asia and South America. Collected together here on vinyl for the first time with related singles, B-sides and John Peel session recordings, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band in rampant form riding a hard-earned wave of popularity and credibility."
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2CD
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PCDBRED 758CD
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$19.00
PREORDER
RELEASE DATE: 9/27/2019
"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Without A Sound, their sixth record, emerged in the summer of 1994, in the wake of personal bereavement and the departure of longtime drummer and founder member Murph. Performed primarily by J Mascis, Without A Sound continued the band's growth in popularity and commercial achievement, reaching #44 in the US (their highest ever album placing there) and featuring the hit singles 'Feel The Pain' and 'I Don't Think So'. Released to positive reviews, Without A Sound also took Dinosaur Jr around the world, including dates in Australia, New Zealand and Japan, and into the mainstream as the group contributed Blah to the hit US TV show Melrose Place. Collected together here on vinyl for the first time with related singles and B-sides, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band at the height of their international appeal and accessibility."
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2CD
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PCDBRED 759CD
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$19.00
PREORDER
RELEASE DATE: 9/27/2019
"Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band's final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I'm Insane 7" single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever."
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CD
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PENN 001CD
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$19.50
PREORDER
RELEASE DATE: 9/27/2019
Remastered/improved reissue of Penniman Records' Nervous Eaters compilation, Eaterville #1, originally released in 2004. Ace of Hearts Records recently reissued their '86 classic Hot Steel and Acid. The band has released Record 10 in 2019 and is working on another album. To do true justice to the band and earn them the dues they deserve as one of the best R'n'R bands ever. This great compilation brings together rare stuff recorded between 1973 and 1975, from studio sessions and demos along with their official Rat singles -- "Just Head" and "Loretta" -- and their fans favorite anthems -- "Degenerate" and "You Smell Like Fish". Also included are demos like "You've Heard These Chords Before" or "Planet Fever" on which Steve Cataldo and company place themselves on the crucial dividing line between the best Stones and the Stooges. CD version includes 32-pages booklet.
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12"
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PERMVAC 191-1EP
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$14.00
PREORDER
RELEASE DATE: 9/27/2019
Remixed versions of TB's 2018 release Night Heat (PERMVAC 177-1EP). With contributions from Gerd Janson, Sascha Funke, DJ Hotel, and Bostro Pesopeo it's all in the game; tropic machine rhythms, Chicago grooves, pinball lazerfunk, and a touch of new romance techno. Producer, part-time DJ, and Permanent Vacation label co-head Tom Bioly, aka TB, is based in Munich, Germany. Silver and black color riso-print and TB sticker.
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CD
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PFL 229CD
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$15.00
PREORDER
RELEASE DATE: 9/27/2019
"Formed in Oakland, CA, Heaven's Club began as the project of Shiv Mehra during downtime while off tour with his band Deafheaven. It then expanded to include Deafheaven drummer Dan Tracy, Nadia Kury, Chris Natividad, Ross Peacock and Luis Mayorga. Finding ground in introspective lyricism and progressive, ethereal sonics, they achieve a careful balance between punching urgency and distant atmosphere. Recorded at Santo Studios in Oakland, CA, the band's producer and engineer Andrew Oswald acts as a seventh member and brings a rich texture and nuance to Mehra's vision. Of the project, Mehra says: 'Heaven's Club is the fog of memory and insubstantial fantasy. The songs reside in the liminal space between love and the end of suffering. They reach toward an ambiguous desire for peace -- a deeply felt longing.'"
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LP
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PFL 229LP
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$24.00
PREORDER
RELEASE DATE: 9/27/2019
LP version. "Formed in Oakland, CA, Heaven's Club began as the project of Shiv Mehra during downtime while off tour with his band Deafheaven. It then expanded to include Deafheaven drummer Dan Tracy, Nadia Kury, Chris Natividad, Ross Peacock and Luis Mayorga. Finding ground in introspective lyricism and progressive, ethereal sonics, they achieve a careful balance between punching urgency and distant atmosphere. Recorded at Santo Studios in Oakland, CA, the band's producer and engineer Andrew Oswald acts as a seventh member and brings a rich texture and nuance to Mehra's vision. Of the project, Mehra says: 'Heaven's Club is the fog of memory and insubstantial fantasy. The songs reside in the liminal space between love and the end of suffering. They reach toward an ambiguous desire for peace -- a deeply felt longing.'"
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CD
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POL 003-2019CD
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$15.00
PREORDER
RELEASE DATE: 9/27/2019
"Moving in the directions that originated with the Environments recordings and evolved to become extended pieces like Klaus Schulze's Gewitter, Robert Henke's Studies For Thunder, Brian Eno's On Land and Steve Peter's Here-ings, the music of From The Gray And The Green finds its origins in landscapes. This time, landscapes that Marc Barreca knows as his home -- the foothills of the Cascade Mountains. These eleven pieces and three digital-only bonus tracks are sculpted from layers of synthesized and sampled instruments, field recordings and processed vinyl. Barreca tells us that 'My goal was to create immersive, evolving landscapes shaped by a dynamic past and viewed as if through the translucence of passing clouds.' From The Gray And The Green offers a music of contrasts and change, departing from traditional ideas of ambient to arrive in shifting landscapes of the strange and the beautiful. Includes an eight-page booklet and download card for the complete album and three bonus tracks. Mastered by James Savage. Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl in 2016, was one of the earliest releases on Palace Of Lights. From The Gray And The Green is his ninth solo album for the label. Recent releases include Shadow Aesthetics (2018) and three collaborations with K. Leimer. Reissues include work on the acclaimed VOD box set American Cassette Culture, the Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works For Industry, now on vinyl. His work is also included in the collection of The British Library."
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LP
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PP 043LP
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$25.50
PREORDER
RELEASE DATE: 9/27/2019
Penultimate Press present A Sunset for Walter, the first duo release from long-time collaborators Jérôme Noetinger and Anthony Pateras. "Having worked together in a number of different collaborative contexts over the years, the pair used Pateras' 2018 residency at Schloss Solitude in Stuttgart as an opportunity to develop a major durational work for Steinway piano and multiple Revox tape machines. Presenting four excerpts from a three-hour concert, the LP's opening moments immediately establish its distinctive sound-world: an austere sequence of octaves slowly sounded by the piano gradually develops into passages of fragmentary lyricism as Noetinger's tape manipulations dilate the sonic space with rumbling sub-bass, distant echoes, and hints of uncanny backmasking. A Sunset for Walter was conceived as a loose tribute to the piano works of Walter Marchetti, particularly the slowed-down subaquatic expanse of Nel Mari Del Sud. As Marchetti described his own work, A Sunset for Walter is 'music without beginning, or end, or development', where the lack of obvious structural divisions creates something like an endless present. But where the monochrome surface of Marchetti's work -- in its willingness to descend, in his own words to the 'pits of aesthetic poverty' -- often approaches total stasis, A Sunset for Walter is calmly immovable in its overall texture but perpetually changing in detail, as the performers respond intuitively to each other, their instruments, and the environment. Noetinger's tape manipulations range from nearly imperceptible shadowing of the live piano to anarchic bursts of rewinding tape, floating wisps of feedback, and dreamlike concrète interjections of children's voices and splashing water. Pateras' piano performance moves from single pitches left hanging over a backdrop of silence to almost Messiaen-esque sequences of complex chords and arpeggios, all sounded within a temporal framework that seems to follow internal rhythms of breath and bodily movements. Caught in this hall of mirrors, the listener is often unable to distinguish the live piano from its tape-manipulated reflection. Like the sunset of the title, here outlines blur into a crepuscular haze, as fleeting effects of light and shade catch our attention just as they disappear." --Francis Plagne
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2LP
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PP 044LP
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$33.00
PREORDER
RELEASE DATE: 9/27/2019
Pancrace is a quintet from France comprising Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel, and Jan Vysocky. Pancrace began with a residence in 2015 at the Saint Pancrace church in Dangolsheim where the instrument inventor Léo Maurel resides. Pancrace's debut self-titled double-LP was released by Penultimate Press in 2017 and ended up on The Wire's best releases of that year. After the first record and subsequent tour the band were despondent that the main character of their story, the church organ, was not there. A series of meetings and chance encounters resulted in the band developing their own organ which they named "Organous". The approach of Pancrace is based on the physicality of sound, a choice of specific tone qualities within a given spatial contextual awareness. Therefore, the manufacturing and usage of the musical instrument are constantly reassessed. Consequently, playing with the mechanical aspect of the instruments is central to their musical approach and narrative. Designing an unbound pipe organ -- though emulating some of the mechanical idiomatics of the initial Pancrace church organ -- seemed the obvious way to gain more spatial control over a vast choice of places. This allowed them to approach their music from a totally new angle and work from within the organ. The results of these experiments are captured here, on their second opus, The Fluid Hammer. This new beast of an instrument, somewhere between a spider or an octopus, led Pancrace to compose from the frontality of the instrument as well as with the interactive tone possibilities brought by other instruments. With its six panels display (two bass registers, two treble, and a pair of crumhorns) the organ projects sound like the musique concrèt Acousmonium giving the listener a spatialized perception of a wide range of tones and harmonics. Fluid Hammer is the result of the research and experiments undertaken with the Organous and other instruments. Fluid Hammer is a more rhythmic and percussive affair than its predecessor, bringing to mind the experiments of Conlon Nancarrow as well as fairground barrel organs. The wide range of polyrhythmic patterns generates a constant tension between the machine and the human play. Music for Organous (spatialized and MIDI-controlled pipe organ), Uilleann pipes, Pi-synth, piano, motorised bow, boîte à bourdons, gaida, Baroque violin, hurgy toys, toy piano, componium, bodhran, low whistle, bird calls, AM radio, and shaker.
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