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forthcoming releases available for pre-order
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How preorders work: FAQ
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2LP
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AU 1017LP
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$30.00
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RELEASE DATE: 11/15/2019
Double LP version. "Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."
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AUM 112CD
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$13.00
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RELEASE DATE: 11/15/2019
"Eri Yamamoto transcends jazz, classical and folk forms to create a stunning new suite for jazz trio & 50-member choir. Eri Yamamoto transcended jazz, classical and folk forms in creating her new work : for jazz trio & 50-member choir. She has seamlessly melded biography, group improvisation and far-ranging compositional vocabularies in a momentous seven-part suite, featuring her longstanding trio in collaboration with New York-based Choral Chameleon, directed by its award-winning founder, Vince Peterson. The suite is based off of the 'Goshu Ondo,' a traditional circle dance song from Shiga, Japan, where it was sung during the summer Bon festival to warmly welcome ancestral spirits. The suite commences with the folk song's melodic kernel from which the rest blooms. Choral Chameleon's heterophony, polyphony and unison singing interweave with Yamamoto's trio, often with gorgeous open vowels evocative of natural scenes in works ranging from Claude Debussy through Charles Ives to Duke Ellington. All is bolstered by gentle trio improvisation, Ambrosio and Takeuchi propelling the band forward and ultimately building to a life-affirming choral unison. As the final movement's ecstatic and celebratory rhythms surge, crest and dissipate and the various musical threads converge, a sense of transcultural journey is palpable, of many and disparate experiences existing in luminous multi-communal nexus. The coda composition performed by the trio, 'Echo of Echo', provides a final moment of reflection, mirroring the suite's ultimate descent toward silence; demonstrating, again, that the part is in the whole, which far exceeds the sum of its components."
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AUM 113CD
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$13.00
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RELEASE DATE: 11/15/2019
"The David S. Ware Archive Series was launched in November 2015, and AUM Fidelity has marked the anniversary of his birth -- November 7, 1949 -- with a vital new edition therein every year since. David S. Ware was a master saxophonist of the highest order, and an unparalleled sonic alchemist of the modern jazz era. As his distinctly potent sound & vision was an integral inspiration toward the creation/devotion of AUM Fidelity, that mission continues strong with the DSW-ARC series. Théâtre Garonne, 2008 presents a luminous concert from a transitional period in David S. Ware's ever-creative life. His 17-year-longstanding Quartet with Matthew Shipp & William Parker, which had achieved a naturally ascendant worldwide acclaim, performed their final concerts on a triumphal European tour in March 2007. Knowing that this end was coming, David had already begun writing new compositions and conceptualizing what would become his new quartet. The first iteration of this group -- foundationally with guitarist Joe Morris -- debuted at New York's Iridium jazz club in mid-July. The group was made whole with Ware's stalwart musical companion William Parker back on bass and fellow master musician Warren Smith on drums."
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BF 010CD
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$11.50
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RELEASE DATE: 11/15/2019
In Japanese folklore, Afuma indicates a time of day marked by spiritual or mysterious encounter. In Latin, one who inhales. Together as Afuma, Stefan Tcherepnin and Taketo Shimada breathe sepulchral energies into the brooding, cosmic fringes of guitar-based song vernacular. Tcherepnin's baritone and Shimada's lap steel guitar intertwine, smearing across world's-end horizons that propel Tcherepnin's ragged, foreboding vocal delivery and its lyrical portents of departure, of life's vessel unmoored onto a fathomless periphery. Shimada, a Tokyo-born musician and artist who has lived with Herbert Huncke and worked with Henry Flynt, also contributes Indian double-reed instrument shehnai to the band. And Stefan Tcherepnin, a contemporary artist and composer in fourth generation (continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin), embellishes their dirge-scapes with electronics from the Sonica, a lute shaped version of the Serge synthesizer developed by his uncle. A family friend and student of Maryanne Amacher, Tcherepnin's piano playing alongside Marianne Schroeder's additionally graced Blank Forms Edition's publication of Amacher's Petra (BF 005CD/LP). Tcherepnin and Shimada are joined by drummer David Silver for Songs From The Shore, their debut LP, featuring artwork in the form of "A Rip In The Void", a newly commissioned painting by Bobby Beausoleil.
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BF 010LP
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$20.00
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RELEASE DATE: 11/15/2019
LP version. In Japanese folklore, Afuma indicates a time of day marked by spiritual or mysterious encounter. In Latin, one who inhales. Together as Afuma, Stefan Tcherepnin and Taketo Shimada breathe sepulchral energies into the brooding, cosmic fringes of guitar-based song vernacular. Tcherepnin's baritone and Shimada's lap steel guitar intertwine, smearing across world's-end horizons that propel Tcherepnin's ragged, foreboding vocal delivery and its lyrical portents of departure, of life's vessel unmoored onto a fathomless periphery. Shimada, a Tokyo-born musician and artist who has lived with Herbert Huncke and worked with Henry Flynt, also contributes Indian double-reed instrument shehnai to the band. And Stefan Tcherepnin, a contemporary artist and composer in fourth generation (continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin), embellishes their dirge-scapes with electronics from the Sonica, a lute shaped version of the Serge synthesizer developed by his uncle. A family friend and student of Maryanne Amacher, Tcherepnin's piano playing alongside Marianne Schroeder's additionally graced Blank Forms Edition's publication of Amacher's Petra (BF 005CD/LP). Tcherepnin and Shimada are joined by drummer David Silver for Songs From The Shore, their debut LP, featuring artwork in the form of "A Rip In The Void", a newly commissioned painting by Bobby Beausoleil.
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2CD
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SNDW 132CD
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$18.00
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RELEASE DATE: 11/15/2019
Soundway releases first Caribbean compilation in over ten years, Body Beat: Soca-Dub And Electronic Calypso 1979-98. 17 obscure soca B-side versions, dubs, instrumentals, and edits as well as vocal tracks influenced by disco, boogie, house-music, soul, and the more conscious lyrics of roots reggae. Owing as much to New York, Toronto, and London as to the Caribbean cities of Port of Spain, Bridgetown, and Kingstown this compilation traces the genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. Compiled by Soundway label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music. Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernizing on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasized the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso. So here you go -- seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean "soca-soul" for your enjoyment -- and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous, and zouk. Features Cito Jarvis, Roger Bain, *D* Ivan, Bill Campbell, Brother Resistance, Adonijah, Peter Britto, Juno D, Colin Jackman, Levi John, Spiking, Mohjah, Andre Tanker, Touch, D'Rebel Band, The Millers, and Chocolate Affaire. RIYL: Rebles' Sweetest Taboo (Soca) 12" (SNDW 12036EP), George & Glen Miller's Easing 12" (SNDW 12037EP), Wilson LeGendre. Double-CD version comes in three-panel accordion cover; includes 20-pg. booklet.
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AR 131CD
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$14.50
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RELEASE DATE: 11/22/2019
Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. On the cover photo, on the right side, is the house of his birth, which was also his parental home. The Ghanaian legend's latest release 11th Street, Sekondi shows off a pride in his heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and disco Ghanaian highlife. 11th Street, Sekondi is his 31st album since his debut in 1973. The charismatic stage personality, no stranger to mixing humor into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector's staple since his appearance on the seminal Ghana Soundz (SNDW 001LP, 2002), which re-introduced the world to his trademark Simigwa style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularized by artists such as E.T. Mensah, before opening up in the '50s and '60s with a wave of guitar-driven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley's trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Taylor. Ambolley's latest album, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician's life. "Black Woman" is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like "Little Small Girl" showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues, and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released German label Agogo records, after the acclaimed Ketan (2017). It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghanaian Embassy in Washington DC for producing the first ever commercially recorded rap album.
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ARCHIVE 051LP
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$23.50
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RELEASE DATE: 11/22/2019
Given Bryn Jones's rather slack approach to track titles (both being consistent with and sometimes even just supplying them), it's a bit of a relief to realize that two tracks with the same name are indeed related. In the case of "Arab Jerusalem", which makes up nearly half of the newly-released Lalique Gadaffi Handgrenade, that kinship is immediately apparent even though both tracks are clearly their own experiences. Released as the first track on the Minaret-Spearker picture disc 7" in 1996, "Arab Jeruzalem" (spelling also sometimes being fairly slack) is nearly six minutes of effectively shifting dark ambience, wordless female vocals drifting over the hand percussion, chimes, and static of the track, with eventual conversational loops discussing... something underneath. The end of that version is especially striking for the way the woman's wordless singing starts being sampled in such a way that it overlays the whole track (and, slightly, itself). The almost 24-minute "Arab Jerusalem" here might be called the Deer Hunter version of the same story, building with great patience and many more abstract detours towards what now seems like simultaneously an excerpt and, now, a climax. As with many of Jones' more ambient tracks, the great length just lets it cast its spell more thoroughly and entrancingly. The other three tracks, meanwhile, suggest some of Jones' other work but never evoke them as directly as "Arab Jerusalem". "Jordan River" is nearly as long (a second shy of 20 minutes) but strips out the vocal elements in its predecessor, focusing instead on a more active percussive workout (analog and digital both). The title track of Lalique Gadaffi Handgrenade might bring to mind the title of "Lalique Gadaffi Jar" from Libya Tour Guide, last reissued by Staalplaat in 2015 (ARCHIVE 031CD), but if they're sonically related Jones must have practically melted the other track to get this one. And the closing "Desert Gulag" (like the title track, a much more manageable length than the first two epic tracks here) bears a slight resemblance to "Negev Gulag" from 1996's Fatah Guerrilla, here what was a piercing, repetitive drone is softened and looped over more of Jones' percussion. The result is a well-rounded release that shows off many aspects of Jones' sound as Muslimgauze, while existing (like many of these DAT tapes do) in conversation with much of his previously released work. All tracks written, performed, mixed by Muslimgauze. Recorded, engineered, mixed by John Delf. Unreleased material. Edition of 700.
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2LP
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BAL 027LP
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$23.50
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RELEASE DATE: 11/22/2019
Double LP version. Includes download card. In the space of just a few years since its inception, Nick Warren and his partner Petra's globetrotting concept The Soundgarden has grown to encompass a label, compilations, parties around the world, and a global radio show. From being one of the early defining pillars for progressive house in the mid-90s through to his beautiful work as one half of Way Out West, Warren is an electronic music mainstay. Bringing two discs of exclusive music, Warren explains: "On this album, I wanted to showcase some of my current favorite artists and reflect the more eclectic sound of The Soundgarden. I feel the secret with compilations is to try and choose music which has almost a timeless feel to it." On Rigooni's "Dreamed Numbers" gets the mix off to an early chug with its delicate plucked melodies and rolling groove, leading into the graceful strings of Bigasti & Balad's "With You". Aspen recalls Airdrawndagger-era Sasha as the mix find its feet unhurriedly. An exclusive Nick Warren & Nicolas Rada original "Balance" yields shimmering atmospheric touches and slivers of plucked guitar, with more musicality displayed through the melancholic piano chords of Draper's "Crystal Voyager". The mix continues to twist-and-turn through Emi Galvan's soaring "Embrace" and the arpeggiated groove of Baunder's "38 & 46" and Yoni Yarchi & Daniel Van Der Zwaag's "From Tel Aviv to Amsterdam" brings the mix to a blissed-out climax. The slo-mo graceful, slinky chug of Six's "Berlin" helps to get disc two going in more mellow tempo, with the chord stabs of Black 8's "Black Tiger" giving an almost Detroit feel to this early hypnotic section. The tempo builds as the haunting vocal of Dmitry Molosh's "Note" glides over percolating percussion. Another shimmering Nick Warren & Black 8 production "Dreamcatcher" arrives to give a contrast to the deep, introspective atmospheres that precede it. The languid funk of Eli Nissan's "Restricted Delusions" pushes the listener into a deeper state, before Audio Junkies & Hernan Cattaneo's remix of Stillhead's "Neu Kobenhaven" cuts through in stark fashion with its crystalline chime motif. Oliver & Tom's "Luly" makes for a perfect closer, its sweet xylophone and piano sounds making for a sublime moment.
Also features Aārp, Synkro & Arovane, Scippo, Kamilo Sanclemente, Ewan Rill & K Loveski, Ben Archbold, Nico Szabo, Lerr, Armen Miran, Nichols, and No-No & Nobilis.
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BCM 9587CD
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$23.50
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RELEASE DATE: 11/22/2019
Beat Records presents for the first time on CD the complete edition of the soundtrack by Nino Oliviero and Bruno Nicolai from Il Pelo Nel Mondo (aka "Go, Go, Go World!"), a documentary directed in 1964 by Renato Marvi and Antonio Margheriti. A report on the most extreme customs in the most diverse corners of the world, the various episodes include -- in addition to some strip-teases -- visions of half-naked savages, documentation on the beheading of roosters, the slaughter of wild boars, the milking of Swiss cows, the sale of Chinese children in Hong Kong, prostitution and even some religious processions. This film is part of the famous trend of the "mondo movie". At the time, C.A.M. issued a 33rpm with 22 selections in mono; the same material was reissued in America by the Musicor Records label. For this release, Beat Records were able to use the master tapes of the mono recording session, which allowed us to discover 19 unreleased tracks. Throughout the 41 tracks, the listener will be immersed in fascinating sound dimensions that describe musically all the visual stimuli in the documentary.) This premiere "mondo" CD pays homage with great affection to the musical art of two titanic Italian musicians, the Maestros Nino Oliviero and Bruno Nicolai, and will certainly be welcome in every collection dedicated to high quality film music. This beautiful soundtrack will guide you around the world with almost seventy minutes of great, timeless music. Available packaged in a jewel case with a 12-page booklet designed by Daniele De Gemini with mastering and liner notes by Claudio Fuiano.
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BEAT 078LP
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$23.00
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RELEASE DATE: 11/22/2019
One-man Theremin Band! 100 years after its invention, the Theremin breaks free from its traditional soloist role and multiplies to adopt the part of a whole band igniting styles from every era: doo wop, sunshine pop, exotica, klezmer, dub, hip-hop, techno, electro, and mutant styles yet to be labelled! Theremonial 2 is an album from another galaxy where the Theremin goes in every direction as generator or rhythms, basses, harmonies, and, of course, melodies: a kaleidoscopic eruption of sounds and textures, a wonderful insanity that's 100% enjoyable and even danceable! More dark, exotic and danceable Theremin music by Javier Díez Ena and his Theremins! "Caravan" composed by Juan Tizol.
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2LP
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BR 120LP
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$36.00
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RELEASE DATE: 11/22/2019
Interactions: A Guide to Swiss Underground Experimental Music, a double-LP compilation curated by Luis Alvarado and published by Buh Records, brings together 27 works by more than 30 artists from the current experimental music scene in Switzerland, in a variety of sounds, ranging from free improvisation, ambient, and industrial music, to synthesizer music, sound collage and more. It gives an account of the intense creative activity in the Swiss underground that runs through cities such as Zürich, Bern, Geneva, Lausanne, Basel, Biel, Chiasso, and Lucerne. This compilation includes works by Rudolf Eb.er, Martina Lussi, Papiro & Yanik Soland, Manuel Troller, Therminal C, JMO, Niton, Christian Müller, Flo Stoffner, Erb-Loriot-Morishige, Noijzu, Christian Kobi, Alvear-Bondi-d'incise, Julian Sartorius, Joke Lanz, Jason Kahn, Tout Bleu, Belia Winnewisser, Souharce, Laurent Güdel, Dave Phillips, Denis Rollet, Gilles Aubry, Jen Morris, Le Pot, Purpura, and Francisco Meirino. This project is part of Incidencias Sonoras: COINCIDENCIA experimental music and sound art platform, by the Swiss Arts Council Pro Helvetia.
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BR 121LP
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$25.50
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RELEASE DATE: 11/22/2019
Buh Records present a new album by Peruvian composer and musician Miguel Flores. Lorca: Lost Tapes (1989-1991) recovers unpublished recordings made for stage works inspired by the life and work of the great Spanish playwright, Federico García Lorca. It is an atmospheric and minimalist album, where you'll find flamenco airs, Andean and Afro- Peruvian sounds, vocal experimentation, and various sound effects, all stitched together in a simple but creative studio montage, which turns these pieces into a dreamy landscape. A member of several rock bands in the Seventies, Flores began an intense period of sound experimentation towards the end of that decade, building a large archive that has remained unpublished. His experimental work became known internationally with the publication of Primitivo" (BR 068LP, 2015), which rescued unpublished recordings of 1983, only presented live at the time, and which represents a high point in the fascinating movement of Peruvian experimental music from the late Seventies and early Eighties, animated by such artists as Arturo Ruiz del Pozo, Manongo Mujica, and Luis David Aguilar. Andean and Amazonian sounds, ancestral evocations, coexisted with the instrumentation and musical resources of free improvisation, concrete and cosmic music. Lorca: Lost Tapes (1989-1991) is published for the first time, and in vinyl format, as part of the Essential Sounds collection, with which Buh Records presents a series of fundamental works of the Peruvian musical avant-garde.
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2LP
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BW 039LP
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$37.50
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RELEASE DATE: 11/22/2019
Jennifer Gentle are one of the most idiosyncratic Italian bands ever. Led by singer, guitarist, and sometimes only member Marco Fasolo, they started their career in the early Noughties as slightly stoned-out-of-their-minds teens equally able to manage short psych pop explosions and 20-minute brain-melting freakouts. They quickly recorded a couple of self-released albums that raised some interest abroad and became the first Italian band to sign to American label Sub Pop, releasing two critically acclaimed albums in quick succession: 2005's Valende (an exercise in hyperactive, sparkling pop mixed with pastoral acoustic vignettes) then followed in 2007 by the much darker and convoluted The Midnight Room (described in a Mojo review as "Syd Barrett lost in a 20's Berlin cabaret"). After 2008, Marco Fasolo preferred to concentrate on production and soundtrack work. He came back in 2013 with the Universal Daughters' album Why Hast Thou Forsaken Me?, a beautifully heart-breaking charity project involving collaborations with the likes of Jarvis Cocker, Alan Vega, Gavin Friday, Chris Robinson, Ed Harcourt, and many more. In 2018, together with Liam Watson (White Stripes, Thee Headcoats, etc.), Fasolo produced (at Toe Rag Studio in London) the first album by Turkish musician Umut Adan, later released to glowing reviews by UK label Riverboat Records. Also in 2018, Fasolo arranged and produced the first album by I Hate My Village, an Italian supergroup whose psychedelic take on Afro-funk has become a hugely successful live attraction: he later joined the band as a permanent member. Now it's 2019 and Marco Fasolo and Jennifer Gentle are officially back with their new, self-titled album. Immaculately produced by Fasolo himself, it's a sprawling, full-bodied release touching all of Fasolo's musical obsessions: it effortlessly bounces from a breezy soul glam, goofy funk, intricate baroque ballads, Joe Meek-like instrumentals, and the trademark JG zippy psychedelia, without ever losing its focus on mood and detailed song construction. By far their most complete and accessible album, Jennifer Gentle is above all an immersive listening experience and new evidence of Fasolo's unique songwriting, arranging, and producing abilities: a sometimes pensive, sometimes joyful musical parade to be absorbed as a whole.
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CLE 027LP
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$18.50
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RELEASE DATE: 11/22/2019
LP version. In the early 1970s, a devastating drought brought famine to the West African Sahel. This environmental disaster destroyed the region's agricultural and livestock economy. Millions of people were affected. International relief efforts tried to send emergency aid. "Les Bateaux", the title track of this album, recalls those hard years. It paints a scene of Malian villagers standing on the banks of the Niger River anxiously awaiting the boats carrying food. Mamadou Kelly remembers those years as he calls out the name of each boat's longed for appearance over the horizon. Kelly sings about life. He praises and thanks those who do admirable things. He evokes the spirits of collective memory. Seemingly simple, upon listening, his songs reveal multi-layered complexity. He is a master of the desert blues. His group on this album includes longtime colleague Aly Magassa (electric guitar), Kande Sissoko (ngoni), and Hamadoun "Afo" Guindo (percussion). They are joined on tracks by Malian musicians Adama Sidibe (balafon(, Madou Diabate (violin), and Hama Sangho (backup vocal), as well as American friends Jacob Silver (bass), Cindy Cashdollar (lap steel guitar), and David Rothenberg (clarinets). Les Bateaux was recorded live in Bamako and New York. The tracks were mixed in New York and Los Angeles, and mastered in New York.
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CMR 005CD
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$12.50
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RELEASE DATE: 11/22/2019
"One of a number of sessions cut at the Choreographers' Workshop, this 1963 set establishes Sun Ra's Arkestra as a New York band, sonically coupled to developments in the decidedly urbane downtown arts underground. The stargazing clamor of the music reflects the intensity of a cultural crossroads where concrete and dust pervade any skyward view, from East 3rd Street to Mars and beyond. One of Sun Ra's rarest releases, it had negligible circulation through shops. While most of the Saturn output couldn't get any rarer or mysterious than it already was, When Angels Speak of Love was released in 1966, it was the most elusive and mysterious in the Sun Ra catalog. It's speculated that the record was issued in two micro runs, with estimates around 150 copies. Hard core collectors around the world had been searching for this gem to no avail until Evidence Records' released a CD of the music in 2000. This updated offering utilizes the actual master tapes and we get to hear the Arkestra in its cosmic mid-60's prime via mono and stereo fidelity. Features three additional stereo tracks, with liner notes by jazz historian Clifford Allen."
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CORE 008CD
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$14.50
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RELEASE DATE: 11/22/2019
Personnel for The Map Is Not The Territory: Max Eastley - arc (electro-acoustic monochord); Fergus Kelly - invented instruments, found metals, electronics; Mark Wastell - tam tam, metal percussion, piano frame. Recorded in London, March 2017.
"The music presented here is enticing and exciting, staggering and interstellar. It's like somewhere in space, waves from the infinite, suspended in a vacuum, continuous and ephemeral. The three musicians manipulate the perception of time. The more the music slows, the more time passes quickly. One is left astounded when the final vibrations gently fade. A beautiful sound experience." --Jean-Michel Van Schouwburg
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CORMIX 061CD
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$18.00
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RELEASE DATE: 11/22/2019
By the '70s Ibiza had already developed into an international party destination. The fact that the third largest of the Balearic Islands is what it is today -- namely, the absolute benchmark for star DJs par excellence -- cannot be discussed without mention of Sven Väth. Even in the early '80s, more than anyone else in Germany, he stood for the idea that being a DJ could be more than just a profession, a vocation or a purpose in life: it's akin to a magician of the dancefloor, a shaman who conjures up the crowd. As a resident of Dorian Gray -- the legendary club at Frankfurt Airport that was modelled on New York's Studio 54 -- he shaped the image of the DJ like no one else in Germany at the time. Even more influential were his broadcasts on hr3 Clubnight. Without the radio shows that Väth produced there between 1990 and 2004, the seed of techno in Germany would never have been sown to such an extent. With his first club Omen, Sven wrote techno history over ten years. Soon after, the "Babba", as Väth has been lovingly and respectfully called in the scene for a long time, set new standards in international club culture with Frankfurt's CocoonClub, inspired by his Cocoon Ibiza events. Pioneer, visionary, ambassador, identification figure, DJ, label operator, club owner, and impresario; over a career spanning four decades, Väth has developed many facets of his art and yet has always remained true to himself. The fact that all over the world Berlin music temples of this kind, from Tresor to Watergate, are celebrated as the epitome of party culture, is in no small part due to Väth's influence. Like no other, Väth has given the landscape of electronic music a face -- always evolving, yet unmistakable. With In The Mix: The Sound Of The 20th Season he presents the culmination of his second decade on the "White Island," and it's impressive, how he manages to tick all the boxes. Features: New Jackson, Joseph Ashworth, Joe Metzenmacher, Dorisburg, Amberoom, Charlotte Bendiks, Stimming, Ricardo Tobar, Herzel, Erol Alkan, Rüfüs Du Sol, Zoo Brazil, Innellea, Rebuke, Patrice Bäumel, Joshua James, Josh Wink, Robert Hood, Pig & Dan, Florian Hollerith, ROD, PSYK, Daniel Avery, Inigo Kennedy, and Legowelt. In HQ lenticular print digipak.
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LP
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COS 029LP
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$23.00
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RELEASE DATE: 11/22/2019
"A classically trained multi-instrumentalist, Don Laka began his career in the '70s and then joined the seminal jazz outfit Sakhile in the early '80s. Already an established musician by this time, Laka was at the forefront of exploring the latest synth sounds of the day. Being introduced to synthesizers by Harari's Alec Khaoli, Don soon began experimenting with different synths like the Oberheim, Juno, and Prophet 5 while using a Commodore 64 to sequence them. Constantly striving for the latest sounds, Laka's early explorations culminated in his debut solo album, I Wanna Be Myself. I went and did an album, recorded tracks at Downtown Studios [in downtown Johannesburg]. Most of the album, except for 'Let's Move the Night,' was done straight with a Fairlight at a different studio, of the guy that owned the Fairlight, Adrian Strydom. He was the only guy in the country who had a Fairlight, I think on the continent. 'This was the first commercial record made on a Fairlight in this country. I remember the other instrument I used was Jupiter 8, which was a very expensive Roland synth, and I used a Juno-60. I would layer them. The only thing I programmed was the drums. You can hear the snare sound, I think it was a mix of some cracked bottles and something that we just mixed.' Holed up in the studio, Laka remembers getting special input on I Wanna Be Myself from master bassist Bakithi Khumalo, who would also feature prominently on Graceland. 'I remember I played all the instruments on it. I played bass, I played all. Bakithi walked into the studio and I said, 'You know, I'm not a bass player. Baks, do you wanna do it?' And he nailed it, in one take!' Reissued for the first time is Don Laka's masterful album."
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CD
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CSR 274CD
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$15.50
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RELEASE DATE: 11/22/2019
Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019. CD version comes in six-panel digipak; the track "The Doctrine Of Eternal Ice" appears on CD only.
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LP
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CSR 274LP
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$29.00
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RELEASE DATE: 11/22/2019
LP version. 180 gram vinyl; 350gsm gatefold sleeve; includes download with "The Doctrine Of Eternal Ice". Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.
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12"
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DECISIONS 017EP
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$12.00
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RELEASE DATE: 11/22/2019
Minimal, elegant and supercharged three tracks written over the course of two Melbourne summer nights. Luscious drums, sparse melodic elements, and midnight-hued atmospheric flourishes are masterfully sequenced for maximum DJ enthrallment and dancefloor enjoyment. The release exudes depth and a natural balance of both artists' respective styles that belies their long-standing friendship Rounding off a year that saw well-received solo EPs from both Cop Envy and DJ Plead (on Hypercolour and Nervous Horizon, respectively).
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LP
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DH 002LP
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$25.50
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RELEASE DATE: 11/22/2019
Mysterious trio Mount Kismet present their debut album Warmer Lanes via Disco Halal. Strung together by the dark, alluring vocals of French-Canadian artist C.A.R., the first single, "Teenage Fantasy", combines sparse, synth-driven cold wave with the kind of Middle Eastern electronic elements that have become synonymous with Disco Halal. Based between Berlin and London, Mount Kismet is a project driven by an eastern music obsession and a taste for the heavy pulse of drum machines and the rumbling of analog synthesizers. The group's only other release, the track "Prunes & Dunes", was included in Perfect Strangers, a various artists compilation put out on Disco Halal in 2018 (DH 016EP). An established artist in her own right, C.A.R. has previously collaborated with the likes of Maceo Plex, Red Axes, and Bawrut. Based in Berlin, but firmly rooted in the diverse and forward-facing musical scene of Tel Aviv, Moscoman's Disco Halal label hails from beneath the minarets of the Holy Land. The imprint exists to present a tight-knit and growing community of musicians and producers, each transmitting their unique musical identity, yet each united by a unique sensibility, as well as a harmonious balance of rhythm and experimentation.
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12"
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DSB 001EP
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$15.50
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RELEASE DATE: 11/22/2019
Delightful Sounds To Boogie kicks off its first release with this three-track EP, combining two different artists to bring you one record filled with joyful sounds and dancefloor ready rhythms. On the A side there is a disco mix from the well-known producer Prins Thomas. He puts the magic back with this Belgian summer hit -- ideal to reminisce about those lovely summer days on the beach with your friends. Let's get those summer jitters flowing! Upcoming Amsterdam producer Perdu completes the B side with some quality dancefloor tracks. Already releasing killer productions, Perdu treats us to a South African bubblegum edit. Whilst preserving the original joyful sounds, this first track is ready to light up some dancefloors. The second track is a club track that brings the listener on a sweaty journey through a humid jungle.
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CD
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EB 142CD
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$9.00
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RELEASE DATE: 11/22/2019
The Reggaetronic company operating under the project name iLLBiLLY HiTEC is poised to release King Size Dub Special. iLLBiLLY HiTEC's electronic tinkerings and styles have carved a swathe straight through the middle ground of the "sophisticated" modern reggae prevalent on the German scene and even worldwide for more than ten years. The band's strange-sounding name sparks a vision of a "what the fuck" attitude, and it manifests itself with its formidable, sweet-sounding mellifluous sounds. The mix is an intoxicating loop with sound sketches borrowed from reggae into which pseudo-spheric elements from breakbeat, hip hop and pop have been absorbed to weave masterful club dub. Now, after ten years the band will say "Good bye friends, good bye Reggaetronics" and will continue on to new projects. The last gig will happen in Berlin on the 19th of October in the legendary YAAM Club with great special guests and the final chapter will be the release of King Size Dub Special -- time to twist and shout to the glorious music of iLLBiLLY HiTEC. Overdubbed by the London-based Dub Pistols; reggae fusion culture at its best!
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2LP
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EO 150LP
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$30.50
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RELEASE DATE: 11/22/2019
Brigadistak Sound System, originally released on Esan Ozenki Records in 1999, is the title of Fermin Muguruza's first solo album. Now, on the 20th anniversary of the album's release, Elkar present a carefully-edited double-LP set. The album was recorded for more than six months in different studios around the world: Rome, Carracas, Los Angeles, Azkarate... And groups like Todos Tus Muertos, Manu Chao, Desorden Público, and many others participated in these recordings. The album ended with a remix by Mad Professor and in this edition, Elkar have added another remix by Xabi Pery. 180 gram vinyl; gatefold sleeve.
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CD
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FABRIC 204CD
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$16.00
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RELEASE DATE: 11/22/2019
Amidst her jam-packed touring schedule, Amelie Lens runs the hugely popular Exhale party series. She also makes time to interact with her hundreds of thousands of die-hard fans who shower her with love at her high energy gigs and on social media. For her Fabric Presents, mix Lens has pulled together 74 minutes of unreleased and all exclusive music from some of her favorite acts, many of whom are break-through techno artists. While Lens is known for her full throttle DJ sets, the mix is a more nuanced affair. Opening with atmospheric snippets, it moves on to bangers and hi-energy synths. There are a few more pummeling contributions before the mix is brought to a spectral, deeply satisfying close. The fourth in the fabric presents series that promises quarterly releases from London's renowned fabric nightclub. Featuring all exclusive tracks produced especially for the compilation. Amelie Lens runs her own label, Lenske.
CD version features SLV & Z.I.P.P.O, Pär Grindvik, Michael Klein, Flug, Nur Jaber, Setaoc Mass, MSKD, Amelie Lens, Anetha, Irregular Synth, Milo Spykers, AIROD, Blicz & Geerson, Ahl Iver, Lukas Firtzer, Farrago, Glaskin, Regal & Alignment, and Hadone.
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2LP
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FABRIC 204LP
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$34.00
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RELEASE DATE: 11/22/2019
Double LP version. Gatefold sleeve; includes download code. Double-LP version vaunts 14 tracks from her compilation in their full unmixed glory. Amidst her jam-packed touring schedule, Amelie Lens runs the hugely popular Exhale party series. She also makes time to interact with her hundreds of thousands of die-hard fans who shower her with love at her high energy gigs and on social media. For her Fabric Presents, mix Lens has pulled together 74 minutes of unreleased and all exclusive music from some of her favorite acts, many of whom are break-through techno artists. While Lens is known for her full throttle DJ sets, the mix is a more nuanced affair. Opening with atmospheric snippets, it moves on to bangers and hi-energy synths. There are a few more pummeling contributions before the mix is brought to a spectral, deeply satisfying close. The fourth in the fabric presents series that promises quarterly releases from London's renowned fabric nightclub. Featuring all exclusive tracks produced especially for the compilation. Amelie Lens runs her own label, Lenske.
Features Amelie Lens, Milo Spykers, Pär Grindvik, SLV & Z.I.P.P.O, Blicz & Geerson, Anetha, Regal & Alignment, Ahl Iver, Flug, Michael Klein, Hadone, Glaskin, AIROD, and Nur Jaber.
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Cassette
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FANDF 057CS
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$12.50
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RELEASE DATE: 11/22/2019
Drawing parallels between present day Britain and that of the turn of the '80s, Ekoplekz looks back to that era's industrial and post-punk soundtrack for inspiration. In a land increasingly brutalized by austerity and divided by nationalism, the tensions that informed some of the post-punk era's most important works -- Red Mecca (1981), Unknown Pleasures (1979), Metal Box (1979) -- haunt this collection of bleak postcards from the present. Recorded quickly on cassette tape recorders, combining live instrumentation (guitar, bass, keyboards) with programmed drum machine and sequencer, the album has a raw, spontaneous edge, drawing on elements of dub, funk, and primitive electronics for musical direction. The album is dedicated to the late Mark Fisher, who's brilliantly insightful writing is sorely missed while trying to make sense of these insane times.
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CD
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FVR 159CD
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$18.00
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RELEASE DATE: 11/22/2019
Two years after an acclaimed first album (FVR 134LP, 2017), Al Sunny and Favorite Recordings present Planets, carrying on their collaboration and bringing it to another level. Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs' melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings. It resulted in 2017's Time To Decide release, a dazzling first album establishing Al Sunny's music and writing style, looking towards the '70s and '80s west coast movement, infused with blue-eyed-soul, pop, and folk flavors. Built on the same influences, Planets is made of eight new compositions, and is clearly a continuation of its cadet, asserting Al Sunny's talent and singing skills. Fully recorded live in analog in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars, and keyboards harmonies, Planets just perfectly meets the AOR and modern-soul golden era standards. CD version includes bonus track.
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LP
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FVR 159LP
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$25.50
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RELEASE DATE: 11/22/2019
LP version. Two years after an acclaimed first album (FVR 134LP, 2017), Al Sunny and Favorite Recordings present Planets, carrying on their collaboration and bringing it to another level. Al Sunny is a young and talented singer/musician/composer emerging from the French soul music scene. During his conservatory studies, he refined his knowledge and confirmed his desire to write and compose. He quickly matured the music that he truly loves, inspired by artists such as Tim Maia, America, Al Green, and Al Jarreau. Giving birth to the majority of his compositions through his guitar, he always seeks to bring his songs' melody to the forefront. During his studies he kept experiencing live performing on different scenes and confirmed his choice for a musical career, while also meeting many brilliant musicians, including Florian Pellissier, who later introduced him to Pascal Rioux and Favorite Recordings. It resulted in 2017's Time To Decide release, a dazzling first album establishing Al Sunny's music and writing style, looking towards the '70s and '80s west coast movement, infused with blue-eyed-soul, pop, and folk flavors. Built on the same influences, Planets is made of eight new compositions, and is clearly a continuation of its cadet, asserting Al Sunny's talent and singing skills. Fully recorded live in analog in Paris, this new album also stands out by an impressive level of production, faithful to some classics of the genre. Mixing catchy melodies, soulful vocals, warm and heavy bass, strong beat and beautiful guitars, and keyboards harmonies, Planets just perfectly meets the AOR and modern-soul golden era standards.
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4LP BOX
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GRBOX 1000LP
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$107.00
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RELEASE DATE: 11/22/2019
16 Horsepower were one of the most unique and inspirational bands in the history of alternative rock. Comprising of Jean-Yves Tolà (ex-Passion Fodder/Lilium) on drums, Pascal Humbert (Passion Fodder/Lilium/Détroit) on bass, and the charismatic front man David Eugene Edwards (guitars, banjo, bandoneon), they recorded two, highly acclaimed studio albums for A&M in the nineties. The band moved on to Glitterhouse in 2000 to release their undisputed rock-masterpiece Secret South, now with Steve Taylor on electric guitar as a fourth member. Their subsequent tour in 2001 was a triumph, and found its way onto CD with the most impressive double album Live, March 2001. The Guardian raved about their London show: "Tonight, 16 Horsepower are the best band in the world." And anyone who witnessed a 16 Horsepower concert will agree. Three years after the release of Secret South the band -- now comprising of the core trio again -- recorded their darkest, most folky piece of music, Folklore, which is often described as the most intense work of their career. Sadly enough, this album became the swan song of one of the greatest bands of all time. Glitterhouse were their partners during this period, which is widely considered the band's most exciting and creative of their career. Glitterhouse now present these three classic albums in a limited-edition box set titled All Access, all carefully remastered for vinyl. Secret South and Folklore both have been out of print for a long time (and sell for outrageous amounts of money) and for the first time ever, Live March 2001 is seeing the light of day on vinyl. All Access is a must for fans of 16 Horsepower and a great starting point for everybody who missed them the first time around. Includes reprints of the original tour posters from 2001 and 2003, download codes for all three albums, and reworked sleeves. 180 gram, virgin vinyl.
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CD
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HAB 010CD
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$16.00
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RELEASE DATE: 11/22/2019
"Issam Hajali is most known as the singer and composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic 'Oghneya' saw a vinyl release and is highly sought after in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000 USD). Before the band came together, he recorded this debut album in Paris in 1977. This rare album fuses jazz and folk with Arabic and Iranian influences into unique beauty. It was only released in a limited run of 75 cassette tapes and is now officially licensed and reissued by Berlin based Habibi Funk Records."
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LP
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HAB 010LP
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$23.00
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RELEASE DATE: 11/22/2019
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12"
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HEIDE 002EP
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$16.50
PREORDER
RELEASE DATE: 11/22/2019
Heideology Part 1 featuring Woody & Daniel Paul, Soulphiction, and Leafar Legov. 180 gram vinyl, with MP3 download code included.
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2LP
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HOS 621LP
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$39.50
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RELEASE DATE: 11/22/2019
Hospital Productions present a reissue of Smell & Quim's Cosmic Bandage, originally released in 1995 on their notorious Stinky Horse Fuck imprint. Cosmic Bondage stands as a monument to the universal perversion inside us all. Birthed into the world with an auto-asphyxiated doll complete with toy packaging and overgrown pubic hair in an edition of 100, despite its limitation the material within has become a staple of the groups live performances to this day. The dark humor enforced by truly masterful concrete noise and arrangements that sit alongside the best of the English electronic and avant-garde visionaries serves as a cautionary tale to the misinterpreted dualist literalism of where we are today. Enormous textures are turned inside out, to the howl and psychosis of British voices that can only be from the north of England and a cacophony of intricate and present adult loops that never let you relax into them and are always cut to engage one out of their lethargy. After Cosmic Bondage, we are all from the North of England. Audio restoration by Kris Lapke. Packaged in wide spine sleeve with deluxe starry slipcase.
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LP
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HOS 639LP
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$22.00
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RELEASE DATE: 11/22/2019
Hospital Prodcutions present a reissue of Masonna's first full-length CD from 1990, Shinsen Na Clitoris, originally on Vanilla Records. The supreme voice of Japanese noise here on vinyl for the first time with audio preparation by Kris Lapke. What would become an inimitable explosion of energy and vision from Japan heralded in the glory days of '90s alternative rock, death metal, and psychedelic synth music, Masonna surpassed all extremes with a full frequency violence that was as fast as it was psychedelic. Not once has any artist emerged with more intensity and focus in the history of noise. It was said onstage that Masonna has reduced the pure elements of classic rock, the guitar stack, the feedback, and the lead singer to an explosive few seconds of visceral feedback, metallic noise from the physical shaking and pressure of his fist around the shaker, processed through the self-described "harshtronics" and indeed ending in "exclamation!" If you have wondered where to start in the vast and increasingly difficult to find discography of this legend look no further. Presented in immaculate sleeve recreated original art with poster and insert.
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LP
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HPS 103COL-LP
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$36.50
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RELEASE DATE: 11/22/2019
New limited repress. 22 years after their first release (1999) and ten years after their last album (2008), Nebula are back. And you're thinking "Holy shit!" right now, you pretty much nailed it. Holy Shit is Nebula's first LP since 2009's Heavy Psych, and it quickly puts to rest the question that's loomed since guitarist/vocalist Eddie Glass, bassist Tom Davies, and drummer Michael Amster announced the band's reformation in 2017: Nebula are still Nebula. It's there in the inimitable space-grunge of "It's All Over", or the take-a-drag-and-be-gone "Let's Get Lost", or the way "Tomorrow Never Comes" manages to be so, so heavy and laid back at the same time. It's in the paradise-psych of "Gates Of Eden" and even the snoring you hear before the devilish "Man's Best Friend" kicks in to open the album (the studio couch became a crash spot). Since the days of 1998's Let It Burn EP and the now-classic To The Center debut album (HPS 066CD/LP/LTD-LP), Nebula have always been just a little more dangerous. Just a little more unhinged. Holy Shit shows this front-to-back for the essential part of their character it is, and yet it's not trying to be anything they've done before, whether it's those early outings or Heavy Psych or 2001's Charged (HPS 087CD/LP/LTD-LP), 2003's Apollo, or 2005's Atomic Ritual. It's a sixth Nebula album -- something for which even the most ardent of fans could hardly have hoped. The basic tracks were done in two days, recorded at Mysterious Mammal Studios in LA with Matt Lynch (also of Snail) at the helm. Leads and loops and feedback effects were done live by Glass and Davies as they recorded the basic tracks, just the way they'd do it on stage, and overdubs followed after as needed. A glut of material was produced and whittled down to the core of what you hear here. A sixth Nebula album. And when you hear it, you'll find yourself saying that title all over again. Cover art by Robin Gnista. Edition of 250, yellow transparent splatter vinyl, black/red/green fluorescent gatefold sleeve.
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LP
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IMPREC 476LP
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$25.50
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RELEASE DATE: 11/22/2019
Jessica Ekomane's debut LP, Multivocal, is brilliantly original, and will appeal to fans of Caterina Barbieri, Alessandro Cortini, Shasta Cults, ELEH, and the strand of minimal electronic music that runs through the Important catalog. Multivocal is a polyphonic maze that unfolds to both the body and the mind. A generative take on rhythm and spatial perception, it presents the same events in different configurations. The two pieces of the album, "Solid of Revolution" and "Never Odd or Even", mirror each other with the same principle in different musical scales: steady pulses with one millisecond difference in tempo start beating together, then slowly phase organically and progress into ever-changing rhythmic patterns until they finally return to unison. Multivocal emphasizes shifts of attention in the listener's experience and plays with the expectations that frame it. Originally conceived for quadraphonic sound, the pieces reveal the many different aspects and modes of perception that can arise within the same sequence of notes. In this way Multivocal is influenced by concepts of gestalt psychology such as multi-stable perception -- a term describing ambiguous patterns that offer multiple interpretations at once. The minimalism and repetitive quality of the music also refers to trance-inducing and collective music practices, driven by the strong bodily affects induced through the use of rhythms. Those two compositions were recorded live during Ars Electronica 2018 at the occasion of the sleeping event "Sonatas for Sleep/less", curated by multimedia artist Shu Lea Cheang and cultural theorist Matthew Fuller. First pressing in an edition of 500.
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LP
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INF 004LP
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$30.50
PREORDER
RELEASE DATE: 11/22/2019
Infopesa present a reissue of Manzanita Y Su Conjunto's Arre Caballito, originally released in 1970. Bernardo Hernández, born in the district of Laredo (province of Trujillo), had a predominant role in shaping the origins of Peruvian Cumbia. Under his artistic name, Manzanita, he showcased his prodigious talent as a guitar player through years of live performance. Manzanita discovered his passion for the guitar at an early age, joining his older brother in various performances of Criollo music. In 1962, he was part of the group called Los Pacharacos (later Los Pachas), where he stood out thanks to his guitar skills and a sublime fusion of tropical rhythms and Huayno. His compositions and performances, imbued with full-blooded inventiveness, were seen by hundreds across the region. Manzanita, along with Enrique Delgado (from Los Destellos), must be credited as leading figures and founders of Peruvian Cumbia -- a genre that differs from other variants of Cumbia due to the inclusion of the electric guitar. In, 1968, Bernardo Hernández formed his own group. He met musical producer Alberto Maraví who, upon witnessing his talents, decided to collaborate with him in the release of his first 45RPM; this recording included the songs "Arre Caballito" and "La Parada". But all these plans needed something else to propel the artist toward superstardom: a no-nonsense commercial name. One day, Alberto Maraví asked him if he had any nicknames as a kid and he responded: "Manzanita". Maraví said, "BINGO!" And the rest is history. That same year, the track "Arre Caballito" became an instant hit in Peru. Its record-breaking sales and commercial success led to the recording of Manzanita's first LP, which was released in 1970 and also titled Arre Caballito. This LP was yet another triumph for the guitarist who was only 27 years old at the time. It became the key that opened the door to the bright beginnings of the Peruvian Cumbia. This legendary vinyl returns, renewing and confirming Manzanita's title as "The Greatest Peruvian Guitarist", reacquainting fans with his mesmeric music and paying homage to his legacy. Remastered at Infopesa's studio by Aldo Montalvo under the direction of Juan Ricardo and Alberto Maraví, who produced and oversaw the original mastering of the record in 1970. Reinterpreted artwork using the original cover by Peruvian collage master, Yerko Zlatar. Includes Spanish/English liner notes.
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7"
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JBJ 1070EP
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$11.00
PREORDER
RELEASE DATE: 11/22/2019
A new release on the Jukebox Jam Series features two originally unissued sides from the "Poet Of The Blues", Percy Mayfield. "Gone Astray" is an irresistibly jazzy, mid-tempo rhythm & blues track which just epitomizes class. The flip is a closing time blues lament with Mayfield drawling his way through his guidelines for dealing with heartache and strife.
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7"
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JBJ 1077EP
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$11.00
PREORDER
RELEASE DATE: 11/22/2019
Pure rhythm and soul perfection from Bobby Bland, an uplifting, call-and-response number guaranteed to pack the floor. On the flip side, a solemn and soulful workout of the blues standard.
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CD
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JMAN 116CD
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$14.50
PREORDER
RELEASE DATE: 11/22/2019
Linking the ancient and the modern across time and space, the Sokratis Votskos Quartet presents Sketching the Unknown -- a modern jazz journey into the folk and modal music of ancient Greece. Playing rich original compositions, the quartet draw freely on Greek and Balkan folk sources, jazz idioms, and the classical makams of the near East. Returning to ancient Greek modes such as Dorian, Phrygian, and Lydian, a fresh perspective is brought to the modal style that was popularized by Miles Davis, John Coltrane, and Herbie Hancock. Expertly versed in musical theory, the pioneering jazz players that adapted these modes for the new jazz of the late 1950s and 1960s worked in full knowledge of their ancient Greek historical origins. The musical freedom offered by these ancient scales helped them take their music to a higher level as they laid the groundwork for the spiritual moment in jazz. On Sketching the Unknown, the Sokratis Votskos Quartet brings that process full circle, linking today's jazz back to the ancient modes and microtonal folk music of Greece and the Near East. Deep modal jazz sounds from an ancient source.
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LP
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JMAN 116LP
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$20.00
PREORDER
RELEASE DATE: 11/22/2019
LP version. Linking the ancient and the modern across time and space, the Sokratis Votskos Quartet presents Sketching the Unknown -- a modern jazz journey into the folk and modal music of ancient Greece. Playing rich original compositions, the quartet draw freely on Greek and Balkan folk sources, jazz idioms, and the classical makams of the near East. Returning to ancient Greek modes such as Dorian, Phrygian, and Lydian, a fresh perspective is brought to the modal style that was popularized by Miles Davis, John Coltrane, and Herbie Hancock. Expertly versed in musical theory, the pioneering jazz players that adapted these modes for the new jazz of the late 1950s and 1960s worked in full knowledge of their ancient Greek historical origins. The musical freedom offered by these ancient scales helped them take their music to a higher level as they laid the groundwork for the spiritual moment in jazz. On Sketching the Unknown, the Sokratis Votskos Quartet brings that process full circle, linking today's jazz back to the ancient modes and microtonal folk music of Greece and the Near East. Deep modal jazz sounds from an ancient source.
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7"
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LEWIS 105-7
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$11.00
PREORDER
RELEASE DATE: 11/22/2019
"Skinshape's 'I Didn't Know' finally gets a vinyl release! With over 15,000,000 (yes, fifteen million!) plays on YouTube and over 2,000,000 on Spotify we thought it was only fair that Skinshape's most popular song was released on glorious vinyl. The track is already on the Filoxiny album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s-70s funk, soul, reggae, psychedelic rock, Afrobeat, and folk. Skinshape grew out of a love for old music and the way it sounded. Initially Dorey experimented with samples (especially drumbreaks) to create instrumental hip- hop/trip-hop tracks but then later started to play around with tape machines as a means to create his own 'samples'. This process gave birth to Skinshape with all elements being recorded by Dorey since the first self-titled album released in 2014."
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CD
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LEWIS 105CD
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$15.00
PREORDER
RELEASE DATE: 11/22/2019
"The exploratory sonic investigation from An Explore brings together Rob Macdonald and Lucy Wilkins, united by instrumentalism and experimental methods of composition. The five tracks of 1 are the result of field recordings helping find a natural musical course within. With Wilkins adding layer upon layer of violins and the occasional vocal to go with Macdonald's pianos and guitars, effects pedals became a key instrument in holding sound and aligning with the sympathies, enigmas and solitude of the record. Slowly shapeshifting through Fender Rhodes and violins, 'Pools With Living Things' chronicles evolving chords frozen into a chain of effects processors. Inspired by Japanese garden water musical devices, 'Small Drop (Suikinkutsu)' is as much as about the physical as the orchestrally solemn. ''Suikinkutsu' is where water is allowed to drip into a large earthenware jar onto water, creating beautiful sounds', explains Macdonald. 'I created a version of Suikinkutsu by purchasing a large pot and tray from a garden centre and recorded the water as it dripped into the reservoir, selecting parts where the melody of the water splashing spoke loudest'. 'Under A Bridge' captures moments of a canoe making its way across the Thames as keys wax and wane, twinkle and torment themselves. Out of the manipulation of Moog and Juno on 'Granite', Macdonald and Wilkins head to a Valencia rooftop for 'San Valero', the chimes from the Bells of San Valero in the district of Rusafa drifting across an early summer's evening, before the abrupt ending of the field recorder closes an EP both freeform and visibly outlined."
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10"
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LEWIS 105LP
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$16.00
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RELEASE DATE: 11/22/2019
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LP
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LTGC 003LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Le Tres Groove Club present a reissue of Jacky Giordano's IM 24, also known as Organ, originally released in 1977. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound -- Schifters (1974), Philopsis (1975) , Challenger (1974) -- but as well on Montparnasse 2000 with Pop In Devil's Train (reissued on Le Très Groove Club, LTGC 001LP), on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil's Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn't an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l'Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ (IM 24), as its name suggests, is a tribute to this instrument and all the genius of Giordano, mixing the instrument with bass synthesizers and Rhodes to create grooves tinged with melancholy. A club in the suburbs half empty on a Sunday evening, a grey sky on the esplanade of La Defense, the soundtrack of a B-grade crime movie --this is where Jacky Giordano takes you with Organ and his already cult tracks ("Interrogation Point", "Project Problematic", "Owls Night") for those who had the chance to get their paws on an original pressing of this record.
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LP
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LTGC 004LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Le Tres Groove Club present a reissue of Jacky Giordano's IM 26, also known as Organ Plus, originally released in 1978. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound -- Schifters (1974), Philopsis (1975) , Challenger (1974) -- but as well on Montparnasse 2000 with Pop In Devil's Train (reissued on Le Très Groove Club, LTGC 001LP), on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil's Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn't an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l'Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ Plus (IM 26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club (LTGC 003LP). The title is misleading here, organ not being a preponderant part of the record which honors the Fender Rhodes, string machine, bass synth, and clavinet. "Be Careful", "Riffologic", "Twillight": Jacky Giordano offers slow tempo jazz funk without losing the melancholy and lo-fi groove that make his tracks immediately recognizable regardless of the record label or alias.
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LP
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LTGC 005LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Le Tres Groove Club present a reissue of Les Masques' Brasilian Sound, originally released in 1969. Claude Germain (Les Double Six), José Bartel, Marie Vassiliu, Pierre Vassiliu -- Indeed the singers forming Les Masques are from being unknown. In 1969 they entered Studio Davout with le Trio Camara to record Brasilian Sound. Composed of 11 tracks, it is a superb album, masterfully produced and recorded, a gripping record to listen in one go. It will transport you to atmospheres both dreamy and naïve, ones that belong to that period. Produced in 500 copies on CBS, Brazilian Sound was not a success unfortunately and it is today impossible to find the original French pressing (which sounds much better than the Canadian pressing released at the same time). This reissue on Le Tres Groove Club comes 50 years after its release.
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LP
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MAR 017LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Mad About Records present a reissue of Mike Selesia's Flavor, originally released in 1976. This is cool jazz album all the way around. From the black-and-white, hand-drawn cover, to the fact that it came out of Fresno, California (not exactly a hotbed for jazz), to the handful of styles present (straight ahead, funky, free, and even a raga), Flavor has got it going on. High quality musicianship and some far-out stoner tracks make this album stand head-and-shoulders above most of its private press peers. Original released in a very limited issue -- rumor has it that only 300 were pressed -- this album was handed out at their shows and sold only to local record stores. Only together for nine months, Mike Selesia (who plays sax and flute) and band recorded this album in one day presented this fascinating hybrid of early '60s Coltrane, early '70s Miles Davis. One of the rarest spiritual jazz LPs ever!
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LP
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MIA 045LP
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$23.50
PREORDER
RELEASE DATE: 11/22/2019
The two collaborators Gareth Davis and Scanner, known separately for contemporary electronic music and free clarinet experimentations, team up to create the delirious trip, Footfalls. Two scenes are presented here, seemingly taken from different sides of the same desolated seaside setting, loosely inspired by poet and novelist T.S Elliot and Samuel Beckett. In "Towards The Door", Gareth Davis's bass clarinet breathes slow, wave-like tones that merge with the oft-rhythmic electronic textures from his counterpart. A third of the way in, Robin Rimbaud's synth erupts into a Blade Runner-esque epic harmonic section that disappears as suddenly as it arrives -- leaving ripples of oscillation in its wake, slowly unfolding into the sound of waves, as it arrives back where it begun: as a full circle, drawn in echoes of sound. "Smokefall" begins with the words "Invisible Choirs", subtly spoken by a woman's voice among a blurred distant conversation, as textural sound effects creep forwards to the point where a slow progressing but steady LFO rhythm enters. Water, metal, and smoke are absorbed into a creeping tribal passage, accompanied by long clarinet tones. The piece expands further and further into a state of ecstatic harmonic noise that fulfills all parts of your body -- if played loud. Both artists from here on move into full on crushing electronics, all while Rimbaud's Kilpatrick Phenol synth drives the background with its pulses and repetitive bassline. The piece has an ellipse like rotation that makes one feel a sort of blissful vertigo that reverberates in your mind after the piece has ended. Footfalls is a euphoric trip from two artists that -- although prolific -- manage to arrive at the perfect meeting point to deliver two hard to shake pieces of dizzying electro-acoustic perfection. Metallic pantone spot color artwork. Orange vinyl; includes download code; edition of 300.
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Book
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MORR 162BK
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$55.00
PREORDER
RELEASE DATE: 11/22/2019
Art book with 100 pictures, 84 pages. 24x24cm, hardcover in linen weave with metallic embossed printing. Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music (MORR 162CD/LP). The release is complemented by the book presented here. A linen book of Polaroid SX70 photographs from more than two years of environmental explorations. The music on Sylva and its 84-page visual companion bear the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. No audio is included with this book.
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CD
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MORR 162CD
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$15.50
PREORDER
RELEASE DATE: 11/22/2019
Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music. The music on Sylva bears the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. Sylva is the result of one of the most productive periods in Meluch's life. During a nine-month hiatus from his day job he embarked on daily recording sessions amid trips to the American southwest, Montana, Hawai'i, and his native Michigan. Back home in Seattle, he developed his recordings and wrote the album's two mesmerizing vocal tracks, which call to mind early Fleetwood Mac or peak pop-era Brian Eno. "Keep" is based on a tiny flower called Draba mentioned in the book A Sand County Almanac (1949), about which "no one ever wrote a poem"; considering all the little plants he had inadvertently crushed throughout a lifetime of hikes, he wrote it for them. The piano-driven "Meristem" features a striking violin contribution from Freya Creech (London, UK), and is dedicated to Meluch's brother, who died suddenly two years ago. Sylva's other collaboration is the soaring vocal arrangement created for "Raze II" by Pulitzer Prize-winning composer/singer Caroline Shaw (New York, USA), a former touring mate who resided at the Banff Centre (Alberta, CAN) during the same period in which Meluch completed his recordings there. The album's ten songs are divided into four movements: Solum (soil/solitude), Ignis (fire), Coeptum (seed), and Vireo (thrive), with each group embodying a slightly different environ. When paring down the photo collection Meluch abided three guidelines: no man-made objects, no redundant textures, and a color palette as diverse as his vintage camera allowed. Follows two albums by his band-project Orcas (with Rafael Anton Irisarri).
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LP
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MORR 162LP
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$19.50
PREORDER
RELEASE DATE: 11/22/2019
LP version. Includes download code. Kranky veteran Benoît Pioulard (Thomas Meluch) has created his first full-length for Morr Music. The music on Sylva bears the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch's dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic -- with this collection sound and vision are merged into an affectionate study of the organic. Sylva is the result of one of the most productive periods in Meluch's life. During a nine-month hiatus from his day job he embarked on daily recording sessions amid trips to the American southwest, Montana, Hawai'i, and his native Michigan. Back home in Seattle, he developed his recordings and wrote the album's two mesmerizing vocal tracks, which call to mind early Fleetwood Mac or peak pop-era Brian Eno. "Keep" is based on a tiny flower called Draba mentioned in the book A Sand County Almanac (1949), about which "no one ever wrote a poem"; considering all the little plants he had inadvertently crushed throughout a lifetime of hikes, he wrote it for them. The piano-driven "Meristem" features a striking violin contribution from Freya Creech (London, UK), and is dedicated to Meluch's brother, who died suddenly two years ago. Sylva's other collaboration is the soaring vocal arrangement created for "Raze II" by Pulitzer Prize-winning composer/singer Caroline Shaw (New York, USA), a former touring mate who resided at the Banff Centre (Alberta, CAN) during the same period in which Meluch completed his recordings there. The album's ten songs are divided into four movements: Solum (soil/solitude), Ignis (fire), Coeptum (seed), and Vireo (thrive), with each group embodying a slightly different environ. When paring down the photo collection Meluch abided three guidelines: no man-made objects, no redundant textures, and a color palette as diverse as his vintage camera allowed. Follows two albums by his band-project Orcas (with Rafael Anton Irisarri).
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LP
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MOV 2503LP
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$25.00
PREORDER
RELEASE DATE: 11/22/2019
"Magma's newest album Zess is a 38-minute musical work by Christian Vander. Composed in 1970, Zess had long been plagued by its incompleteness, its recording was deferred for years. Four decades after its first draft, the work has finally been recorded in an orchestral version that gives it both its true dreamlike dimension and its transcending power. The first public performance took place in Bourges in 1979. It is the last piece in a series of unfinished compositions from the 1970's. During the last 15 years they finished and released all these different pieces. Zess is described as a work that touches the philosophical domain by its treatment of the idea of nothingness and its evocation of the theme of time. Magma turned fifty this year, catapulting into the very exclusive circle of bands who for five decades have never laid down their instruments, nor turned down their volume! The oldest French band still in existence has always played at full sail, never yielding to the siren song of passing trends. The fiercely original music has tirelessly adhered to the highest artistic standards while still reaching a wide audience of all ages.180 gram vinyl, gatefold sleeve with UV spot varnish, four- page booklet."
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12"
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MPD 019EP
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$12.50
PREORDER
RELEASE DATE: 11/22/2019
As the title subtly suggest, this has to be played loud! In recent days, the title tune (that FX mix) has been played recently by the usual suspects. A classic and strong 12" by Orlando Voorn under his Baruka moniker focusing on twisted funky Detroit techno sound with his special signature. A colorful release, first issued in 1994 and remastered for the 21st century.
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12"
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MPD 020EP
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$12.50
PREORDER
RELEASE DATE: 11/22/2019
An absolutely gorgeous 12" by Orlando Voorn under his Baruka moniker focusing on ambient house/IDM and downtempo; think of the heyday of Black Dog, New Electronica, Artificial Intelligence, and Fat Cat Records shop, with Orlando's touch and a truly delicious acid line on "Circles." First released in 1994; remastered for the 21st century.
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LP
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MR 396LP
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$28.50
PREORDER
RELEASE DATE: 11/22/2019
"In 1968, The Silver Thunders enjoyed a good reputation within the Bogotá rock circuit . . . Today, none of the three living members of the band remembers where they got the money from to invest in the recording, but they got together three or four hours a week over several months in 1968 at the studio Suramericana de Grabaciones. The details of the sessions are hazy and nobody knows who sat behind the mixing desk. However, Jorge López (lead guitar) and Orlando Córdoba (bass guitar) both say that the studio was uncomfortable and precarious. This didn't undermine the group's upbeat spirit. That's how things were back then: no editing tricks and no option of doing several takes, as reels of tape were very expensive. The Silver Thunders, with Edgardo Córdoba (rhythm guitar) and Carlos Cardona (drums) completing the line-up, recorded live a repertoire influenced by Mersey beat and British R&B, American surf and garage, the psychedelia of The Beatles and a dash of African pop. This is conveyed in the raw cover versions of 'And Your Bird Can Sing', 'Got To Get You Into My Life' and 'A Day In The Life' by the Liverpool four; 'Mary, Mary' by The Monkees; 'Wild Thing' by The Troggs; 'Wild Angels', taken from the soundtrack of the film of the same name; 'Summer In The City' by The Lovin' Spoonful, plus a surprising cover of 'Pata Pata' by the South African artist Miriam Makeba. Although the presence of The Beatles predominates, the band delves deep into style of The Ventures in 'Good Thing' and an exquisite and naive cover version of 'Strawberry Fields Forever' after the instrumental track that Don Wilson and Bob Bogle's combo made famous in 1967. The recording also includes 'Alma Agobiada', an original song by Carlos 'Caniche' Cardona and the only remaining example of The Silver Thunders' own repertoire . . . A couple of years later, Jorge López went off to finish his studies and Carlos Cardona joined the ranks of Los Flippers. The Córdoba twins carried on playing, accompanied by Hernando Orjuela on keyboards and Eduardo Acevedo on drums. They fell under the influence of the mysticism of the guru Maharishi Mahesh Yogui. At the end of the decade, the four Silver Thunders became Los Yoguis and recorded 'Birthday' and 'Revolution' by The Beatles at the Ingeson studios, as well as 'Shape Of Things To Come' and 'Listen To The Music', both from the soundtrack of the film Wild In The Streets..." --Luis Daniel Vega
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12"
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NEP 002EP
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$14.50
PREORDER
RELEASE DATE: 11/22/2019
In 1980, Dutch outfit Renée came out with the album Reaching For The Sky. It's made of delicate pop-songs, with lovely little hooks and ice-cold guitars. From songs that sounds almost ABBA, to more Reggae-sounding stuff, and avant pop. In the middle of it all you'll find Anja Nodelijks hypnotic voice. The albums highlight is the song "Change Your Style", already a semi-classic on the Balearic scene. The song can probably be described as "wonky pop funk", with a twist. On the A-side you get the original. On the B-side Prins Thomas has stretched the greater parts, giving the song the length it probably deserves. Almost six minutes of bliss. Renée's "Change Your Style" is the second release by Norwegian label Neppå. This piece of music has never been presented like this before, with the song cut over a whole side of 12" vinyl. The music is remastered, and licensed from CNR entertainment. Second release for Neppå, the Oslo-based label focusing on lost and overseen recordings.
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CD
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OHM 052CD
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$14.50
PREORDER
RELEASE DATE: 11/22/2019
The first album from Scorn since 2010's Refuse; Start Fires, Cafe Mor is Mick Harris in his happy place. Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub. Cafe Mor takes risks outside of the conventional Scorn apparatus, and with these risks come substantial rewards. The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks "Elephant" and "The Lower The Middle Our Bit", and gaining steam towards the ultraviolence of "Mugwump Tea Room" to "Never Let It Be Said" to the crushing death kick of "Who Are They Which One". A quick drive under the lights with a lasered out snare on "Dulce", then you come across the appearance from Sleaford Mods front man, Jason Williamson, on the standout track on the album, "Talk Whiff". A cruise around the Midlands sighting the Broke Fridge and Tinder Surprise, with an instant classic refrain: "Talk Whiff/ I'm a busy person/ I've had enough of it," Cafe Mor culminates in the all-in-one dub affair "SA70", letting rip all the new mixer and FX techniques of Harris's most recent incarnation of Scorn.
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2LP
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OHM 052LP
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$29.00
PREORDER
RELEASE DATE: 11/22/2019
Double LP version. The first album from Scorn since 2010's Refuse; Start Fires, Cafe Mor is Mick Harris in his happy place. Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub. Cafe Mor takes risks outside of the conventional Scorn apparatus, and with these risks come substantial rewards. The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks "Elephant" and "The Lower The Middle Our Bit", and gaining steam towards the ultraviolence of "Mugwump Tea Room" to "Never Let It Be Said" to the crushing death kick of "Who Are They Which One". A quick drive under the lights with a lasered out snare on "Dulce", then you come across the appearance from Sleaford Mods front man, Jason Williamson, on the standout track on the album, "Talk Whiff". A cruise around the Midlands sighting the Broke Fridge and Tinder Surprise, with an instant classic refrain: "Talk Whiff/ I'm a busy person/ I've had enough of it," Cafe Mor culminates in the all-in-one dub affair "SA70", letting rip all the new mixer and FX techniques of Harris's most recent incarnation of Scorn.
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5x7" BOX
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OPT4 025EP
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$70.00
PREORDER
RELEASE DATE: 11/22/2019
The Pooh Sticks's self-titled release, present here as a 5x7" box set with five different color 7" singles and a 24-page booklet. This release includes the original five tracks, and for the first time, five tracks on the flipsides. All of the B sides were recorded in 1988 and four of them have never been available before; the other track "Hard On Love", was released in 1989 on a flexi-disc and has never been available in any other format. Originally released in 1988 on Fierce Recordings as a collection of five one- sided singles in a 7" cardboard box (etched on B-sides), with information insert, and hand-drawn designs on the box and labels. The original now sells for £250 if you are lucky enough to find a copy.
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12"
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OR 004EP
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$17.50
PREORDER
RELEASE DATE: 11/22/2019
12" EP featuring music by London based producer and DJ Koichi Sakai, a well-known head in London music circles thanks to his role in co-founding the legendary Afrobeat Vibration nights alongside Dele Sosimi. In collaboration with Ghanaian percussionist and singer Afla Sackey (Afrik Bawantu), this project sees Koichi mixing African percussion instruments and themes with synths and drum machines. The A Side features the dancefloor workout "Jingo", a fresh take on Babatunde Olatunji's original featuring vocals and percussion by Afla Sackey and guitar by Mao Yamada, with Koichi on synths and drum machine. On the B Side, "Wono", the title track from Koichi's debut LP, gets the remix treatment by Osunlade who takes Afla's lead vocals and a few percussion elements and turns it into a stripped-down, hypnotic dancefloor monster. On the second B Side track, Venezuela producer Pocz, aka Carlos Mayoral, creates a funked-up, Latinized version of the original featuring a brand new bassline and jazzy synths. This EP comes as a lead up to Koichi's first LP, Wono, to be released towards the end of 2019.
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LP
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PAN 103LP
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$25.50
PREORDER
RELEASE DATE: 11/22/2019
MOI is the fearless full-length album by artist and musician Steven Warwick. The record signals a more upbeat reprise following the previous, reflective release Nadir (2016). MOI, the first physical release under his own name (having previously recorded under the Heatsick moniker), is a journey considering interior worlds and personal architecture, as found in early spiritual narratives. Recorded in Berlin, the FUGA residency space in Zaragoza and on location in New York, Warwick's sonic vocabulary is further expanded with intense frenetic rhythms, prismatic melodies, and resonant vocals. Like the dopamine rush of contemporary life, MOI is a sonic roller coaster with a scream-if-you-wanna-go-faster urgency; "Open Fire Hydrant" bursts out like a pressure valve spiraling onto the dancefloor, while "Kaleidoscope" offers cheeky anecdotes as told on a ride home soundtracked by a garage beat. MOI is a spectrum both emotionally and musically, embedded with an underlying spirituality wrestling with existential dread, as witnessed in "Over There", "Salvation", "Kind Of Blue", or the icy digital pulse of "Cold Light Of Day". "Danke" featuring guest vocals from visual artist Josephine Pryde offers a slightly gothic feel, albeit of the architectural variety, while the purgatorial transmissions of "Consolatio", bring a moment of respite. "Rush" is a sensuous percussive workout before concluding on the rampaging seductive house track "Silhouette". "Do you know who I am? Because I don't!" Mastered by Jeremy Cox. Cover photography by Ilya Lipkin. Layout by Bill Kouligas and Johannes Schnatmann.
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LP
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PL 130LP
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$25.00
PREORDER
RELEASE DATE: 11/22/2019
A commemorative 35th anniversary edition of Hertzainak's first album. A record that marked an era and revolutionized the Basque rock of the '80s. Punk, Jamaican rhythms, and committed lyrics made the album itself become the anthem of a generation. 180 gram vinyl; gatefold sleeve.
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LP/7"
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PUDEL 029LP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Eruption is an outburst of creaking energies, unconventional ideas, arrhythmic thoughts, cacophonous images, and musical phantasms. Eruption is also the name of the second album by Kluster (1971), a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius (BB 112CD/LP). Eruption was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre of Conrad Schnitzler, as well as by his free-spirited thoughts and actions. The result was a multi-faceted program of concerts, performances, sound, and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler and Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler's contemporaries such as Ken Montgomery, Wolfgang Seidel, and Asmus Tietchens, as well as young artists who developed works especially for Eruption. Among them are Lena Willikens and Sarah Szczesny with fragments from their performance Phantom Con Ballett, the DJ Phuong-Dan who composed a musical collage from the poem "About Rhythmus" about rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), and the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler. Also features Esmark, Tintin Patrone, Crystal Penalosa, and Jessica Broscheit & Mark Boombastik. Initiated and curated by Nika Son, a musician and artist based in Hamburg.
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LP BOX
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RBL 072BOX
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$113.00
PREORDER
RELEASE DATE: 11/22/2019
Limited box edition. "Limited gold vinyl, limited picture vinyl with unreleased bonus material, CD, 2 postcards, two posters, gold pendant with bag, insert with liner notes by Bobby Beausoleil. Limited 149 copies."
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LP
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RBL 072LP
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$32.00
PREORDER
RELEASE DATE: 11/22/2019
Limited edition LP version on red marble vinyl, housed in a gatefold sleeve with insert. "The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus."
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LP
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REPOSE 084LP
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$26.50
PREORDER
RELEASE DATE: 11/22/2019
Way back in 2004, Acid Mothers Temple & The Melting Paraiso U.F.O. released the CD-only album Minstrel In The Galaxy on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and Riot Season present the first-ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata. Here's what Riot Season said back then: "Minstrel In The Galaxy is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes Goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We'll miss her that's for sure but we can't worry about that now, AMT have another ten albums to lay down before New Year. The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (monster bass), Hiroshi Higashi (guitar and effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it's something of a new direction. They're joined on this album by Japanese underground queens Afrirampo . . . Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed. To these ears 'Minstrel In The Galaxy' sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it's crushing finale." Color vinyl; includes download code; edition of 500.
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LP
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RIYH 003LP
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$22.00
PREORDER
RELEASE DATE: 11/22/2019
"The lyrics to The Gonks instrumental track 'I'm Dead' say it all. In the tradition of the Tronics, the Subsonics, the Gories and going back to the Dixie Cups, The Gonks arrive with a seventeen minute record of ten songs hacked down to the bare minimum, led by teenager singers Ave Lynch on drums and Sami Perez on bass, who tell the tale of lonely trams, lone wolfs, midnight loners, very alone types, loners, double loners and lonesome alone folk. If Leonard Cohen wrote songs about getting hit by a car for bubble gum bands, or Jonathan Richman wrote heartfelt songs about his mom for The Shaggs, one would have The Gonks. Produced at Studio Bonk by Sonny Smith of Sonny & The Sunsets for his new label Rocks In Your Head Records, this band eschews the glossy over-shiny pop that pervades the rock 'n' roll world these days and reject all the crooning-over-quasi-prog-rock of late and go minimal. 'Am I just a sewage pipe, living in the dirt? Sometimes I feel like I might burst, but I'll just leak a little first....' from the titular single 'I'm A Leaker' explains where these damaged loners are coming from."
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LP+CD
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RLP 3209LP
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$26.50
PREORDER
RELEASE DATE: 11/22/2019
LP version. Includes CD. As David Fricke points out in his liner notes, this is not just another novelty guest-project, the Krokofant on Q is like a brand-new band. In fact, all the involved are so happy with this album that there's more to come with a bunch of new material already written. After three albums in three years as a trio, and sensing the possible danger of being stuck in a formula, they all felt a need to try something new, taking the band one step further. Especially Tom Hasslan, guitarist and main composer, felt an urge to expand the canvas and sonic possibilities. Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal) was the trio's first choice for a keyboardist. He had seen Krokofant live in 2015 and, in his own words "had an instant kick", so he said yes straight away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) had seen them the same year, and practically invited himself to join up at some time. Hasslan's tunes are perfect vehicles for Storløkken to present the full scope of his playing; from sheer pastoral beauty to full on jazz skronk. The same can be said about Jørgen Mathisen, who is given ample room for soloing. By introducing Håker Flaten and his bass, work was lifted from Hasslan's shoulders while a "proper" rhythm section was born, Skalstad and Flaten instantly bonding. Personnel: Tom Hasslan - guitars; Axel Skalstad - drums; Jørgen Mathisen - saxophones; Ståle Storløkken - Hammond organ and keyboards; Ingebrigt Håker Flaten - bass.
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CD
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RR 336CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Eric Donaldson's self-titled album, originally released in 1971. Eric Donaldson's soaring falsetto has made him one of Jamaica's best-loved vocalists. Born in the country town of Bog Walk in 1947, Donaldson cut some ska material at Studio One in 1964, which never surfaced, and went on to form The West Indians vocal trio at the tail end of rock steady, enjoying minor local hits for Sir JJ and Lee "Scratch" Perry. Winning the annual Festival Song Competition with love ditty "Cherry Oh Baby" in 1971 saw him team up with former Jamaicans vocalist Tommy Cowan and hit-making producer Bunny "Striker" Lee, the subsequent recording of the tune at Dynamic Sounds studio resulting in a spectacular success around the world and subsequent hit cover versions by The Rolling Stones and UB40, among many others. This self-titled debut album was recorded at Dynamics in the wake of the hit with the set of upcoming players known as The Inner Circle, which then featured future members of Third World such as keyboardist and arranger Ibo Cooper and guitarist Cat Coore; along with the enduring "Cherry Oh Baby", there is a popular cover version of the doomed romance saga, "Sylvia's Mother" and an individual rendition of "Love Of The Common People", as well as the castigating "Miserable Woman", all popular with reggae fans at home and abroad. Includes liner notes by David Katz.
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LP
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RR 336LP
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$21.00
PREORDER
RELEASE DATE: 11/22/2019
LP version. Radiation Roots present a reissue of Eric Donaldson's self-titled album, originally released in 1971. Eric Donaldson's soaring falsetto has made him one of Jamaica's best-loved vocalists. Born in the country town of Bog Walk in 1947, Donaldson cut some ska material at Studio One in 1964, which never surfaced, and went on to form The West Indians vocal trio at the tail end of rock steady, enjoying minor local hits for Sir JJ and Lee "Scratch" Perry. Winning the annual Festival Song Competition with love ditty "Cherry Oh Baby" in 1971 saw him team up with former Jamaicans vocalist Tommy Cowan and hit-making producer Bunny "Striker" Lee, the subsequent recording of the tune at Dynamic Sounds studio resulting in a spectacular success around the world and subsequent hit cover versions by The Rolling Stones and UB40, among many others. This self-titled debut album was recorded at Dynamics in the wake of the hit with the set of upcoming players known as The Inner Circle, which then featured future members of Third World such as keyboardist and arranger Ibo Cooper and guitarist Cat Coore; along with the enduring "Cherry Oh Baby", there is a popular cover version of the doomed romance saga, "Sylvia's Mother" and an individual rendition of "Love Of The Common People", as well as the castigating "Miserable Woman", all popular with reggae fans at home and abroad. Includes liner notes by David Katz.
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CD
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RR 337CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Trinity's Dreadlock Satisfaction, originally released in 1979. The reggae artist known as Trinity is one of the music's best-known rappers, known in Jamaica as "toasters" or "deejays" for their key work at the microphone on sound systems. Born Wade Brammer in1954 and raised in the tough streets of the Two Mile ghetto in western Kingston, an early preoccupation with the toasting styles of U Roy and Big Youth kept him away from crime, leading to a debut single as Prince Charming and more solid early work released under the name Prince Glen. Bonding closely with fellow deejay Dillinger brought another name change to Trinity at Channel One studio, which enabled his debut album, Shanty Town Determination (1977), produced by Yabby You, and subsequent breakthrough material for Channel One and Joe Gibbs, the latter releasing "Three Piece Suit," the blueprint for Althea and Donna's "Uptown Top Ranking", which would catapult Trinity to international stardom. Dreadlocks Satisfaction was produced by Bunny Lee for his Jackpot label in 1979, placing Trinity's witty raps over some of Bunny's most unusual rhythms, including alternate, rockers-styled Johnny Clarke takes of The Isley Brothers' "This Old Heart Of Mine" and The Tams' "Riding For A Fall," plus Cornell Campbell's takes of The Sensations' "Every Day Is A Holiday" and The Heptones' "Why Did You Leave"; Trinity also salutes Dillinger on a recut of John Holt's "Linger A While". Includes liner notes by David Katz.
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LP
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RR 337LP
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$21.00
PREORDER
RELEASE DATE: 11/22/2019
LP version. Radiation Roots present a reissue of Trinity's Dreadlock Satisfaction, originally released in 1979. The reggae artist known as Trinity is one of the music's best-known rappers, known in Jamaica as "toasters" or "deejays" for their key work at the microphone on sound systems. Born Wade Brammer in1954 and raised in the tough streets of the Two Mile ghetto in western Kingston, an early preoccupation with the toasting styles of U Roy and Big Youth kept him away from crime, leading to a debut single as Prince Charming and more solid early work released under the name Prince Glen. Bonding closely with fellow deejay Dillinger brought another name change to Trinity at Channel One studio, which enabled his debut album, Shanty Town Determination (1977), produced by Yabby You, and subsequent breakthrough material for Channel One and Joe Gibbs, the latter releasing "Three Piece Suit," the blueprint for Althea and Donna's "Uptown Top Ranking", which would catapult Trinity to international stardom. Dreadlocks Satisfaction was produced by Bunny Lee for his Jackpot label in 1979, placing Trinity's witty raps over some of Bunny's most unusual rhythms, including alternate, rockers-styled Johnny Clarke takes of The Isley Brothers' "This Old Heart Of Mine" and The Tams' "Riding For A Fall," plus Cornell Campbell's takes of The Sensations' "Every Day Is A Holiday" and The Heptones' "Why Did You Leave"; Trinity also salutes Dillinger on a recut of John Holt's "Linger A While". Includes liner notes by David Katz.
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CD
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RR 339CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Shorty The President's Fire Fire, originally released in 1979. Jamaican deejay Shorty The President may have been one of the more obscure figures to rise from the Kingston sound system scene, but the impact he made on vinyl recordings during the 1970s is no less important and his work remains coveted by reggae connoisseurs. Born Derrick Thompson in rural Trelawny in 1949, like many of his peers, he moved to the Jamaican capital as a teenager in search of better opportunities. As he gravitated to the Rastafari faith, an affiliation with the sound system Conquering Lion sparked interest from producer Rupie Edwards, who produced debut hits "President Mash Up The Resident" and "Yamaha Skank". Edwards issued debut album Presenting Shorty The President in 1976 and after sparse work for Enos McLeod, Joe Gibbs, Pete Weston, Winston Riley, and Keith Hudson, sophomore album Fire Fire was produced by Bunny Lee in 1978, with Shorty riding typically tough Aggrovators rhythms of the day, including Ronnie Davis's updated version of Bob Marley's "Kaya" and The Cables' "Baby Why", Delroy Wilson's "Have Some Mercy", and Barry Brown's take of Wilson's "I'm Not A King", as well as killer cuts of Brown's "Natty Roots Hold Them" as "Roots Man" and "Best Thing In Life" as "Do My Thing". Includes liner notes by David Katz.
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LP
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RR 339LP
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$21.00
PREORDER
RELEASE DATE: 11/22/2019
LP version. Radiation Roots present a reissue of Shorty The President's Fire Fire, originally released in 1979. Jamaican deejay Shorty The President may have been one of the more obscure figures to rise from the Kingston sound system scene, but the impact he made on vinyl recordings during the 1970s is no less important and his work remains coveted by reggae connoisseurs. Born Derrick Thompson in rural Trelawny in 1949, like many of his peers, he moved to the Jamaican capital as a teenager in search of better opportunities. As he gravitated to the Rastafari faith, an affiliation with the sound system Conquering Lion sparked interest from producer Rupie Edwards, who produced debut hits "President Mash Up The Resident" and "Yamaha Skank". Edwards issued debut album Presenting Shorty The President in 1976 and after sparse work for Enos McLeod, Joe Gibbs, Pete Weston, Winston Riley, and Keith Hudson, sophomore album Fire Fire was produced by Bunny Lee in 1978, with Shorty riding typically tough Aggrovators rhythms of the day, including Ronnie Davis's updated version of Bob Marley's "Kaya" and The Cables' "Baby Why", Delroy Wilson's "Have Some Mercy", and Barry Brown's take of Wilson's "I'm Not A King", as well as killer cuts of Brown's "Natty Roots Hold Them" as "Roots Man" and "Best Thing In Life" as "Do My Thing". Includes liner notes by David Katz.
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CD
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RR 340CD
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$14.00
PREORDER
RELEASE DATE: 11/22/2019
Radiation Roots present a reissue of Sugar Minott's The Leader For The Pack, originally released in 1985. Sugar Minott is part of the pantheon of Jamaican roots reggae icons, one of a handful of singers that indelibly changed the course of the music and helped it reach a broader overseas audience. Raised next door to one of Jamaica's most popular dancehalls, in the heart of a notorious west Kingston slum, Minott joined The African Brothers in the mid-1970s, making an impact with singles for Rupie Edwards, Clive Chin, and Micron Music, as well as with self-produced work, but the breakthrough came when Sugar went solo for Studio One, spearheading the reuse of classic rhythms at the facility for new purpose. He later moved away from Studio One to record sparse work for Prince Jammy, Mikey Dread, and other smaller producers but the main focus was Black Roots/Youth Promotion, the record label and sound system he established himself. Then, following smash hit "Good Thing Going", Sugar helped to launch the careers of dancehall stars like Tenor Saw and Nitty Gritty. The Leader For The Pack album was produced by Bunny Lee in 1985 at The Rock studio in London, established by Gibraltarians Danny, Eddy and Henry. Sugar's first fully synthesized album, it was arranged by Jackie Mittoo and revived classic rhythms of the past with minimal, synth-driven backing, including "Everybody Needs Love" as "This Is Rockers Music", alongside a great cut of "Sleng Teng" for the title track; "Them Have To Come A We" was co-written by fellow icon, Gregory Isaacs. Includes liner notes by David Katz.
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LP
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RR 340LP
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$21.00
PREORDER
RELEASE DATE: 11/22/2019
LP version. Radiation Roots present a reissue of Sugar Minott's The Leader For The Pack, originally released in 1985. Sugar Minott is part of the pantheon of Jamaican roots reggae icons, one of a handful of singers that indelibly changed the course of the music and helped it reach a broader overseas audience. Raised next door to one of Jamaica's most popular dancehalls, in the heart of a notorious west Kingston slum, Minott joined The African Brothers in the mid-1970s, making an impact with singles for Rupie Edwards, Clive Chin, and Micron Music, as well as with self-produced work, but the breakthrough came when Sugar went solo for Studio One, spearheading the reuse of classic rhythms at the facility for new purpose. He later moved away from Studio One to record sparse work for Prince Jammy, Mikey Dread, and other smaller producers but the main focus was Black Roots/Youth Promotion, the record label and sound system he established himself. Then, following smash hit "Good Thing Going", Sugar helped to launch the careers of dancehall stars like Tenor Saw and Nitty Gritty. The Leader For The Pack album was produced by Bunny Lee in 1985 at The Rock studio in London, established by Gibraltarians Danny, Eddy and Henry. Sugar's first fully synthesized album, it was arranged by Jackie Mittoo and revived classic rhythms of the past with minimal, synth-driven backing, including "Everybody Needs Love" as "This Is Rockers Music", alongside a great cut of "Sleng Teng" for the title track; "Them Have To Come A We" was co-written by fellow icon, Gregory Isaacs. Includes liner notes by David Katz.
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3LP
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SA10YEARSLP
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$31.00
PREORDER
RELEASE DATE: 11/22/2019
Stroboscopic Artefacts releases X Ten Years Of Artefacts a 13-track album curated by Lucy, the nom de techno of Luca Mortellaro. It celebrates ten years of his label by boldly confirming its raison d'être: a continual redefinition of modern techno. X Ten Years Of Artefacts is a various artists album in which the label's key artists respond to its tenth anniversary with fresh compositions; artists with divergent perspectives are equally at home expressing themselves. These tracks' timbres, tempos, and moods differ greatly yet -- somewhat improbably -- they seem together, ideologically unified. On X Ten Years Of Artefacts, Mortellaro features solo as Lucy, in collaboration with Rrose as Lotus Eater and together with Speedy J as Zeitgeber. (Rrose also appears alone with "The Myth of Purity.") Shifted, Efdemin, L.B. Dub Corp (Luke Slater), James Ruskin, Denise Rabe, Adriana Lopez, Chevel, Alessandro Adriani, and Serena Butler each also feature, representing a group of singular artists whose relationships with the label range from years to months; Stroboscopic Artefacts' past, present and future must exist simultaneously. Back in September 2009, Lucy released Why Don't You Change/Dub Man Walking (SA 001EP), the first record from Stroboscopic Artefacts, which began a discography that, ten years later, is almost unparalleled in its ambition and vision. Put simply, Mortellaro wanted to create something that didn't exist. Stroboscopic Artefacts would be respectful of, and indebted to, the great techno and electronic music artists of the past but would develop new paths forward for the label and the genre. The label refused to perpetuate the established dichotomies of electronic music: between the dance floor and home listening, between club music and experimental music, between the past and the future. It took risks knowing it wouldn't always work. But within a year or so of the label's inception, it was obvious Stroboscopic Artefacts' approach had captured imaginations far beyond its Berlin base, showing us that the boundaries of techno are often constructs of limited imagination. The label pursued constantly evolving methods of releasing music. It created concept-driven series like Monad, Stellate and Totem, establishing frameworks that would give freedom in limitation. Standout albums by Lucy, Xhin, Dadub, Zeitgeber, Chevel, Kangding Ray, Lotus Eater, and Alessandro Adriani were deeply considered longform presentations. Now is the moment for Stroboscopic Artefacts to look fondly at its past while drawing breath, re-energized, and hinting at new chapters. In four-panel gatefold; includes download.
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LP
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SCTR 045LP
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$20.00
PREORDER
RELEASE DATE: 11/22/2019
"More or less known for his projects Bronze Horse and The Dove Azima, which cloaked his name on his three past albums, Zachary Hay is finally releasing a self-titled LP. When Scissor Tail Editions first discovered his music, they were floored by his stream-of-consciousness approach to acoustic guitar. A very playful, innocent and intuitive flow of ideas created some incredibly poignant songs, feeling as if they already existed and rose from oblivion -- preformed. This album, like his others, would fit nicely alongside Willie Lane, Jandek, MV & EE, Tashi Dorji and Loren Connors. Or imagine if John Fahey and Jack Rose were stripped of their deep knowledge of blues music and were distilled down to pure melody and feel, they may have made similar choices on the guitar as Zachary Hay here. This album is the most sincere album of contemporary guitar music Scissor Tail has heard. His perfect, simple technique adds a timelessness to each song that could be vaguely described as 'American Primitive' -- a tradition that includes Charalambides, Christina Carter, and Scott Tuma, as much as Fahey and his contemporaries."
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Book
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SGR 031BK
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$44.00
PREORDER
RELEASE DATE: 11/22/2019
Book version. Several years in the making, each chapter in this 480-page tome deals in poetic detail with each song; it makes extensive use of the original photography and influence of different associated text and artworks. It is the most comprehensive expression of Fragile Self. Includes download. Co-release with Deperson Society. Fragile Self is an electronic duo Anil Aykan and Jonathan Barnbrook. Already known for their Grammy award winning design for David Bowie's Blackstar (2016) and The Next Day (2013) album covers, they have now formed their own musical project combining visuals, music, electronics, and live performance with a following in design this is a natural evolution and new audience for them
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CD
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SGR 031CD
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$16.50
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RELEASE DATE: 11/22/2019
Co-release with Deperson Society. Fragile Self is an electronic duo Anil Aykan and Jonathan Barnbrook. Already known for their Grammy award winning design for David Bowie's Blackstar (2016) and The Next Day (2013) album covers, they have now formed their own musical project combining visuals, music, electronics, and live performance with a following in design this is a natural evolution and new audience for them.
The first self-titled album is available in three physical formats (CD/LP/Book). CD version (SGR 031CD): the front and back of the package both function as a front cover. Includes booklet and three postcards.
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LP
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SGR 031LP
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$26.50
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RELEASE DATE: 11/22/2019
LP version. Features a cover with a cut-out square; the inner sleeve is printed with multiple thematic apperception test images, a different image is shown through the square dependent on the orientation of the inner sleeve. Co-release with Deperson Society. Fragile Self is an electronic duo Anil Aykan and Jonathan Barnbrook. Already known for their Grammy award winning design for David Bowie's Blackstar (2016) and The Next Day (2013) album covers, they have now formed their own musical project combining visuals, music, electronics, and live performance with a following in design this is a natural evolution and new audience for them
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12"
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SNDST 069EP
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$12.00
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RELEASE DATE: 11/22/2019
Born in Brighton, bred in London, and now moving between Berlin and Ibiza, BEC has an omnivorous approach to electronic music that shows up in her productions; techno with a twist. Her seventh outing on home label Second State continues in this vein as she balances hypnotic, driving elements with atypical flourishes. "Lost In Change", which gives the EP its name, layers a pounding kick with a bloodless, repeated vocal before a juddering synth launches the track into another gear. "Flux" pairs a springy bass line with siren FX to pleasantly weird effect, followed by the more intense "State Of Flow", a euphoric collision of rave-y synths and gurgling acid lines. "Holocene", meanwhile, hinges on an impatient groove textured with whipping 808s. It conjures the delicious abandon of parking your worries at the door as you give in to the primal pleasures of the dancefloor. BEC has been an international touring DJ for the past five years, playing everywhere from Berlin's Watergate to Australia's Rainbow Serpent Festival and from London's Egg to Nevada's Burning Man Festival. Lost In Change is sure to advance the ascent of one of Techno's most promising young stars.
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LP
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SP DELTA-LP
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$22.00
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RELEASE DATE: 11/22/2019
Dick Verdult, aka Dick el Demasiado, is the Philip K. Dick of multi-disciplinary art, the Moby Dick of "cumbia lunática", and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic "La pollera colorá". From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the "cumbia of the mucamas", to create an anarcho-tropical vertebral rhythm, one which supports every moving part. Celulitis Illuminati is the powerful debut of the anarcho-tropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in "Asi Que Los Que Sí" ("So That Those Who Yes") on Side A, surrealist and lugubrious beats, poetry made song and "the dead man's drool is good for painting watercolors", as he sings in "Búho Sin Un Ratón" ("Owl With No Mouse"). Euphony that will abduct you away to a viscous street party with "Son Cosas De Hoy" ("They're Things For Today") and to an eclectic and excessive dimension with "pero bien bweno" ("but very proper"). Side B is pure dynamite: "Mecha flan" ("Pudding Fuse"), "Sábado cultural" ("Cultural Saturday"), and "En la jeta" ("In the face") represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, "Llama Mi Abogado" ("Call My Lawyer"), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maracas, the indigenous whistle, he obtained for us the song and the stanza, he provided Staalplaat with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones!
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Book
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SPELL 001BK
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$72.00
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RELEASE DATE: 11/22/2019
During the height of the turned-on 1960s and '70s Occult explosion, even the under-the-counter men's magazines got in on the act and began a surreal exploration of the haunting netherworld of Witchcraft and Satanism. This monumental art book reveals a world of diabolical smut that was so compelling and obscure that many people today would actually question whether or not the magazines were real or just an elaborate and detailed modern photo editing invention. A few salacious titles and images on the internet sparked imaginations, and strongly inspired bands in the doom/black/heavy metal genre, eventually these alluring images found their way to record covers and T-shirts, but mostly remaining shadowy, mysterious, and elusive. Magazines so impossible to hunt down that their very existence seemed an urban myth. Well, they are real and they are spectacular! These magazines are in fact, out there in the world. They are collecting dust in attics, basements, and garages. Hidden away from sight. Unsavory treasures deemed too filthy and then forgotten by their lustful owners. This massive 384 pages deluxe hardcover book is a glimpse into a vast and shocking world that still remains virtually unknown and unexplored. These artifacts come from a bygone era promoting sexual revolution and freedom with overt and unholy occult themes. If you have any issues with hardcore witchcraft and Satanism, body hair or nudity, don't pick this book up and quickly get it out of your sight, and forget everything we've mentioned. Just remember life's too short to take everything so seriously. Flesh is beautiful It's time to descend into the infernal witches' cauldron and deep down into the hellish pit for a real Black Mass. Includes a thorough review and collector's guide of each rare publication as well as illuminating essays on the subject. Hardcover; 384 pages; limited edition of 1000.
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CD
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SR 483CD
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$15.50
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RELEASE DATE: 11/22/2019
Available for the first time outside Japan, and on LP and CD, Phosphorescent Dreams is another epic album of symphonic schizophrenic avant-rock from Univers Zero, originally released in 2014 -- only on CD -- on the Japanese label Arcàngelo. Phosphorescent Dreams presents at the same time, in the same track, even on a single moment, the complex musical schemes and ways of Univers Zero, ranging from maximalism to minimalism, classical avant-garde with a 2020 vibe in a constant flux. In a blend of tension constantly emerging from a subtle dialogue between avant-rock and contemporary influences, harmonies and dissonance, Phosphorescent Dreams is a balanced formula of old-school know-how reshaped almost 40 years after the release of the seminal LP Univers Zero, reissued by Sub Rosa (SR 399LP, 2016).
Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
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LP
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SR 483LP
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$15.50
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RELEASE DATE: 11/22/2019
LP version. Marbled vinyl. Available for the first time outside Japan, and on LP and CD, Phosphorescent Dreams is another epic album of symphonic schizophrenic avant-rock from Univers Zero, originally released in 2014 -- only on CD -- on the Japanese label Arcàngelo. Phosphorescent Dreams presents at the same time, in the same track, even on a single moment, the complex musical schemes and ways of Univers Zero, ranging from maximalism to minimalism, classical avant-garde with a 2020 vibe in a constant flux. In a blend of tension constantly emerging from a subtle dialogue between avant-rock and contemporary influences, harmonies and dissonance, Phosphorescent Dreams is a balanced formula of old-school know-how reshaped almost 40 years after the release of the seminal LP Univers Zero, reissued by Sub Rosa (SR 399LP, 2016).
Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music -- most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
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12"
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SS 078EP
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$12.00
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RELEASE DATE: 11/22/2019
Theo Parrish's "This Is For You" with Maurissa Rose. Includes instrumental version.
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CD
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SUB 017CD
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$12.00
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RELEASE DATE: 11/22/2019
Koenraad Ecker and Frederik Meulyzer make their Subtext debut with Carbon. Based on field recordings made at Norway's Svalbard Global Seed Vault, a secure seed bank located on the island of Spitsbergen, Carbon grapples with the many contradictions that lie at the heart of our shift into the capitalocene. The project began in 2017, when Ecker and Meulyzer scored the performance Frozen Songs, a commission by Zero Visibility Dance Company led by Ina Christel Johannesen. The Svalbard Global Seed Vault was conceived of as an effort to preserve copies of seeds from key crop varieties, ensuring their persistence in the event of large-scale crises. Yet the area is warming faster than anywhere else on earth, causing the permafrost to melt and putting the seed vault at risk. Across from the Seed Vault lie the decrepit remnants of Svalbard's mining activities of the early 20th century; Carbon wrestles with the incongruities nestled in the town's landscape. Reflecting on dissonances of stasis and change, closeness and distance, enclosure and expanse, as well as cynicism and hope, Ecker and Meulyzer consider the urgency of our situation while trying to sidestep all-too-popular depictions of dystopia. From close, supple sounds to cold, brutal sonics, Carbon meditates on the many challenging questions and contradictions raised by the Seed Vault and its surroundings; a landscape that embodies and makes visible the many intertwined phenomena that shape our current predicament. Ecker and Meulyzer, formerly known as Stray Dogs, have released works such as Wasteland (VV 018LP, 2013), recorded in deconsecrated church in Antwerp, and Kalkar, recorded in the cooling tower of a former power station in Germany. Koenraad Ecker works in the fields of electro-acoustic music, field recording, radio plays, stage performance, and text. Together with Andrea Taeggi, he is part of the duo Lumisokea. His output encompasses studio albums, audiovisual installations, texts, performances, and sound design for film. Frederik Meulyzer is a percussionist active in projects including Belgian jazz band Hamster Axis of the One-Click Panther, contemporary music and theatre company Post uit Hessdalen, and experimental psych-krautrock band Slumberland. The ecological impact of the production of this record will be compensated through a carbon offsetting program.
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CD
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SUBL 130CD
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$14.50
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RELEASE DATE: 11/22/2019
Join Mattias Uneback (known from Ìxtahuele and The Test Pilots) on a fantastic underwater exotica adventure in sound. Sail the high seas, explore their depths, marvel at their strange and colorful inhabitants. Beneath the waves and through the depths, forgotten worlds lie waiting. Bioluminescent creatures that have never seen the light of day, ancient beasts of gigantic proportions, sunken continents and underwater caves all await you. The Voyage Beneath The Sea album project is about composing music based on underwater fantasy worlds, as well as actual places. A musical discovery below the surface of the ocean; the mysterious unknown and one of the last outposts still uninhabited by man, but also the cradle of all life on our planet. You travel in to the deep sea, as a parallel to, and parable with, the exploration of outer space, as well as the inner worlds of the mind and the subconscious. This is visionary music inspired by the space-age underwater themed exotica recordings of the early 1960s as well as the peculiar aquatic library type albums of 1970s. The songs are amusing and entertaining one moment, dramatic and fierce the next, but most of all: serenely beautiful. The production of the album has been an important process for Mattias and he feels it has seriously widened his views as a musical and composer. Using a variety of both classical and novel instrument; from exotic percussion and full-scale orchestra and choir to vintage electronics, Mr. Uneback paints a vivid and living tableau for the receptive listener. This is exotic orchestral seduction for those willing to embark on a journey of imagination. Submerge yourself in the sounds!
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CD
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TAL 015CD
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$15.50
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RELEASE DATE: 11/22/2019
This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed Paredo EP compilation (TAL 012EP), which was been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the Super Mild split album is the second outing by Kopy and Tentenko on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music. Tentenko is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BiS. Immediately after her departure from BiS in 2014 she commenced work on her solo project under her artist name Tentenko. Since then she has radically reinvented her music away from glossy J-pop towards weird and industrial rooted dancefloor. Tentenko first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band Hijokaidan. For a few years now, Kopy has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name Kopy very much originates from this "concept". Apart from a few performances at Düsseldorf's famous nightspot Salon Des Amateurs, she has been invited by Lena Willikens to her showcase at the Meakusma Festival in 2018. Her sinister dancefloor mystique is heavily steeped in the free-spirited noise and rhythm cultures of her hometown.
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12"
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TRESOR 314EP
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$12.50
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RELEASE DATE: 11/22/2019
Hot on the heels of the recent reissue of the Point 2 LP, James Ruskin follows up for Tresor Records with the bold new Siklikal EP. Right from the outset, "Nepte" draws in by vast sonics and laser focus, unruly synths distort over a skipping beat that hits hard in the right places. As the beat takes a backstep but no less rhythmic, "Kn Te3" is one for adventurous DJs, recalling the minimal loops that Ruskin is known for, seeped in industrial melancholy that fizzes a granular decay. On the B-side, "Nocke" brings the beat back to the forefront with a muscular UK techno sound, highly effective and pounding. Closing the EP is "Kn Am3" which retains the industrial sinew of its near-namesake "Kn Te3", exposing raw synth excursions over brutalist machinations. This EP symbolizes Ruskin's dynamic approach, pushing at boundaries yet never without a strong grip over the dancefloor. First Ruskin material on Tresor since 2008. 180 gram vinyl; includes download code.
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LP
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VAMPI 202LP
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$25.00
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RELEASE DATE: 11/22/2019
"Born on September 3, 1934 in the barrio of San Roque in Barranquilla, Adolfo Ernesto Echeverría Comas started singing on the radio first as a young man, forming his own conjunto and signing with various labels over the years, becoming one of Colombia's premier band leaders, composers, interpreters, and producers of tropical costeño music in the process. Among many other accolades, he is a winner of five Congo de Oro and one El Cacique de Oro awards; his holiday songs 'Las Cuatro Fiestas' and 'La Inmaculada' are recognized as national treasures. During his long and successful career, he has toured Venezuela, Panamá, and Ecuador, and while performing in the United States was befriended by Celia Cruz and Tito Puente. Recognizing his songwriting talents, the pair asked him for a tune and he gave them "Salsa De Tomate", inspired by Tito's hatred of the term, which they recorded for their 'Alma Con Alma' release on Tico Records in 1971. By 1976, Adolfo Echeverría had signed with Discos Fuentes, where he was to remain until 1990 when he suffered a heart attack and was sadly never able to resume his career. Echeverría's first year with the label was a great success, with his eponymous debut LP containing his biggest hit, the self-penned cumbia party anthem 'Amaneciendo'. The following year, working again with the Fuentes hit production team of Isaac Villanueva and Hernán Colorado, Echeverría came out with 'Sabroso Bacalao', sharing the vocals with Freddy Cruz and Manuel Cassiani. As with the first album, in addition to some hot, driving hardcore salsa tracks like 'Mi Viejo Barrio' and 'Perdóname', Echeverría made sure to include his beloved tasty indigenous cumbia and porro. In addition, the cut 'Llorando Por Ti' is in the Afro-Cuban oriza rhythm style, while 'Locura Es Mi Cumbelé' is described as a 'cumbelé' (inspired by The New Swing Sextet's 1970 song 'Cum Cumbele', which is a variant on the bomba, an Afro-Puerto Rican folkloric drum-based genre). Throughout this diverse genre-hopping album one can always hear the forcefully fiery piano of Hugo Molinares, who also composed the monster guaguancó track 'Sabroso Bacalao'. At the time, the LP yielded the domestic hit 'Fantasía Marina' but in recent years 'Noches De Cumbia' and the title track have become international tropical DJ dancefloor standards across the globe, making this record a must-have for collectors, disk jockeys and aficionados of the classic Fuentes sound." --Pablo Iglesias, aka DJ Bongohead
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LP
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VAMPI 203LP
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$25.00
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RELEASE DATE: 11/22/2019
"Although Pete Vicentini's El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad, or Grupo Niche during the height of Colombian salsa in the 1970s and '80s, Pedro 'Pete' Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia . . . In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo's El Clan Antillano as well as Chico Cervantes y su Sonora Caliente. Pan Con Salsa is Vicentini and El Afrocombo's first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini's native costeño rhythms like cumbia and porro as well (on the tunes 'Barranquilla, Sol Y Cumbia' and 'Tus Lindos Ojos'). The LP has its own lively 'combo' sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini. Additionally, the record contains the band's first hit, 'El Huevo', which is a cover version of Peruvian vocalist Félix Martínez's popular 1971 tune in the guajira genre with Lima's Los Girasoles, 'Ese Huevo Se Pasó'. In addition, there are some super hot original salsa tunes like 'Mira Muñeco' and 'La Fiesta Del Mar', a funky boogaloo cover of Tito Puente's ubiquitous 'Oye Cómo Va' (with a cool clavinet solo), a Puerto Rican style bomba written by Carazo, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. This album is definitely a persuasive argument for including the unjustly obscure El Afrocombo in the pantheon of hot Antillean-inspired bands from Barranquilla and proof that Colombia's Caribbean coastal region was instrumental in pioneering the popularity of domestically produced salsa there in the 1970s, helping it spread into the interior and from there internationally by the '80s and '90s." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 204LP
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$25.00
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RELEASE DATE: 11/22/2019
"... Octogenarian musician, composer, vocalist and teacher Pedro Beltrán aka 'Ramayá' hails from Patico, a small town in Colombia's Bolívar province, not far from the Caribbean coast. He has been crowned Rei Momo of the carnival in Barranquilla, and recorded many albums as a leader and sideman, working with various domestic and international pop artists as well, from Quantic and Thornado to Systema Solar. While his main instrument is the ;caña de millo' flute, he is also proficient in the various percussion instruments of his region as well as the reed instrument known as 'gaita'. His group La Cumbia Moderna de Soledad (named for the large city within the municipality of Barranquilla) was founded in the early 1970s when Ramayá had already retired from a career in the army and was living in Soledad. With this group he set out to 'modernize' the folkloric music of his people, adding the electric bass and a brass section to fresh arrangements of cumbias, porros, fandangos, puyas, and other costeño genres. What's more, the band often did left-field cover versions of international dance hits that were popular in the region's sound systems (picós) and discotheques, from Fela Ransome-Kuti And The Africa '70's 'Shakara Oloje' to Rod Stewart's 'Da Ya Think I'm Sexy'. If you think this sounds like a case of post-colonial cargo-cult worship or a record label marketing gimmick, think again, because there is something fantastically otherworldly yet 'right' about this cross-cultural mash-up, especially since La Cumbia Moderna de Soledad proudly maintained its authentic Afro-Colombian and indigenous roots throughout, making for an infectious mix that was very popular at the time (especially in the Carnaval de Barranquilla) and is still danced to today by Colombians and other fans all over the world. In a way it's as if these musicians, brought up in the ancient rural traditions of their culture, were trying to make musical sense of the rapidly changing and mechanizing urban environment around them. La Clavada (1979) was La Cumbia Moderna de Soledad's sixth record and first for Codiscos' Costeño imprint. The LP has many excellent examples of Pedro 'Ramayá' Beltrán's innovative, catchy and downright playful mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation..." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 206LP
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$25.00
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RELEASE DATE: 11/22/2019
"... Roberto de la Barrera was arguably the first cartagenero to record music that would later be labeled 'tropical' and 'salsa' with his group Roberto de la Barrera y su Sonora, starting off with cumbia, porro, charanga, and pachanga in the early to mid-1960s, and ending the decade with guaguancó, guaracha, descarga and son montuno, leaving a handful of gems for posterity, such as 'El Baile De Los Cocacolos', 'Vamos A Guarachar' and 'Se Formó' from the earlier period and 'Se Formó La Salsa', 'Mi Sonora' and 'Oye Mi Ritmo' as the 1970s began. After taking the piano seat in the Discos Fuentes house orchestra and being hired in 1964 by label boss Antonio Fuentes as the regional musical director in the Caribbean area (based in Cartagena), where he subsequently discovered, signed and produced a lot of local talent, the following year Roberto de la Barrera y su Sonora recorded Pa' Los Cocacolos, his first long play under his own name for the label, succeeded by ¡Pa' cumbanchar! and finally Se Formó La Salsa in 1970. All of his arrangements feature an interesting mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the 'descarga' jam sessions of Cachao and others a decade before. Perhaps the best example of this is 'Mi Sonora' from Se Formó La Salsa, where the vocalist Felipe Sembergman actually name-checks New York's famous Village Gate, home of many Latin jazz and salsa concerts at the time, thus making the connection explicit between what was beginning to catch on in Colombia as "salsa" and its New York Latin roots. Whatever the case, immediately in Roberto de la Barrera's wake, a whole slew of groups from the coastal regions started performing in this style . . . Sometimes the Colombian 'salsa' sound was mixed, at other times the genres were kept separate, but a certain Caribbean aesthetic carried its way through everything these artists did, and Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan..." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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7"
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VAMPI 45060EP
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$12.00
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RELEASE DATE: 11/22/2019
The career of Atlanta's singer and guitarist Lee Moses only left behind eight 45s and an album between the mid-60s and 1973. Heard today, it's difficult to understand why success evaded those recordings, as they possess a quality and emotional intensity to match any soul track from that classic era. Particularly his 1967 Musicor single, produced by Johnny Brantley, featuring the two parts of his own composition "Bad Girl". After its slow build-up comes a torrent of passionate, raw emotion delivered with throat-shredding vocals that is incredibly powerful and moving. Pure soul gold.
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7"
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VAN 346EP
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$12.00
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RELEASE DATE: 11/22/2019
Since releasing her debut EP Wolf back in September 2018, Katherine Priddy has been quietly gaining notoriety and turning all the right heads. Richard Thompson named it as his "Best Thing I've Heard All Year" in MOJO and chose Katherine as his tour support in Ireland August 2019. The release has led to packed out headline shows all around the UK as well as appearances at various festivals including Underneath the Stars, Towersey, and Cambridge Folk Festival where she was awarded the Christian Raphael Prize after leaving the audience enthralled. Now, after repressing the EP three times to fulfil demand, Katherine releases her new single, "Letters From a Travelling Man". The upbeat, Americana style track takes its inspiration from Katherine's personal experiences of living on the road and the struggles of trying to maintain relationships alongside an unsettled lifestyle. Complemented by a much mellower B-Side, "Come and Go", a simple, stripped back duet with Northern folk singer-songwriter George Boomsma. This song takes a different approach to the same theme of travelling, this time a longing cry for a solid place to call home but an acceptance that everything must inevitably pass. Edition of 400; color vinyl.
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CD
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VAULTWORK 331CD
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$14.50
PREORDER
RELEASE DATE: 11/22/2019
Lustmord is a Welsh electronic musician, composer, and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head, and Blackest Ever Black. Often credited for starting the dark ambient genre with his Heresy album in 1990, Lustmord's music has been described as sweeping and profound, a vast dreamlike soundscape that utilizes organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory, and the site of the first ever nuclear detonation.
Lustmord has announced the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time vinyl and CD release of his soundtrack to Paul Schrader's 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried, and Cedric Kyles. The release features extended versions of the score formatted as a standalone album. CD version has tracks formatted to crossfade into each other for a continuous listening experience.
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LP
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VDSQ 025LP
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$20.00
PREORDER
RELEASE DATE: 11/22/2019
Mark McGuire takes us on a kaleidoscopic journey through a winter wonderland with his soulful take on holiday favorites. From timeless classics like "Joy to the World" to a gorgeous rendition of Vince Guaraldi's "Christmas Time Is Here", McGuire thrillingly updates these arrangements with his signature psychedelic guitar work. Here, he employs a wide spectrum of sounds and instruments to bring new ideas to these beloved chestnuts. Brimming with joy and festive cheer, Do You Hear What I Hear? is a modern holiday record for all 21st century listeners.
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LP
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VDSQ 026LP
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$20.00
PREORDER
RELEASE DATE: 11/22/2019
Vin Du Select Qualitite's resident mystic Anthony Pasquarosa conjures up the holiday spirits with an alchemically enchanted collection of Christmas classics. Utilizing his unique 12-string acoustic guitar sensibilities, Pasquarosa's versions of all-time favorites such as "Frosty the Snowman" and "White Christmas" take on an added dimension and shine, a frosted winter glow that sets the mood for warmly introspective holiday moments. Throughout the record, crackling fireplace sounds run alongside the tracks to provide further ambiance and seasonal merriment. Raise a cup of eggnog with Magic and Warmth at Christmastime.
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2LP
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VEYL 012LP
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$27.50
PREORDER
RELEASE DATE: 11/22/2019
Written and produced in a country house surrounded only by vast, empty landscapes and an endless sky, Suicide Disco is the fruit of a three-year long collaboration and Years Of Denial's debut LP for Veyl. Urged to escape from crowded cities and information overload, the duo sharpened their sound and working process through isolation and introspection, crafting 11 songs filled to brim with enormous hooks, new wave nostalgia, and razor-sharp production details. Barkosina's voice echoes and oscillates against Jerome's snares, profound and wounded at once. Her expressionist narrative takes you to unknown yet familiar places, amplified by dub delays and otherworldly reverbs. Each track tells a story based on the intensity of relationships, a touching and distorted invitation into intimacy and complicity. Double-LP includes poster and download.
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12"
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WG 063R-EP
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$16.50
PREORDER
RELEASE DATE: 11/22/2019
Josh Wink's "Higher State Of Consciousness" gets a respectful touch-up 25 years on courtesy of the Adana Twins. The German duo come strong with a pair of remixes, fit for two very different dancefloor scenarios. The first a smart, stripped-back breakbeat version that switches from a sparse percussive soundscape to the famous acid warbles, before introducing undulating retro trance synths to the composition for a head-melting finish. "Remix Two" is a driving, four-to-the-floor, rave-focused affair that builds up the 303s with exhilarating intensity, only letting up in the final moments of the track. The fresh interpretation follows on from Adana Twins' super re-work of Patrice Baumel's "Roar" that dropped on Watergate in November 2018 (WG 052EP) and reinforces the duo's golden touch on the remix front. Regular black vinyl.
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2LP
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WRWTFWW 031-1LP
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$34.00
PREORDER
RELEASE DATE: 11/22/2019
Volume One. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection? gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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2LP
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WRWTFWW 031-2LP
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$34.00
PREORDER
RELEASE DATE: 11/22/2019
Volume Two. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection? gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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2CD
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WRWTFWW 031CD
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$18.00
PREORDER
RELEASE DATE: 11/22/2019
WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima's superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection? gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating "Entrance" to the quirky "Esplanade (Live)", the gentle and reassuring "Flius", and the measured and ravishing escalation of "Mensis." On the second volume, the nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest evokes a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP, 2017), Ashikawa's Still Way (WRWTFWW 030CD/LP, 2019), Hiroshi Yoshimura's Green (1986), or Yutaka Hirose's NOVA (WRWTFWW 028CD/LTD, 2019), as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."
Une Collection Des Chaînons I And II: Music For Spiral is presented as 2-CD set compiling both volumes (WRWTFWW 031CD) or as two separate double LPs, each containing a volume (WRWTFWW 031-1LP/031-2LP). RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. Digipack with selected UV high-gloss varnish, liner notes, and sticker. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.
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12"
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XBIT 002EP
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