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Search Result for Genre ROCK
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CD
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TR 438CD
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$17.00
PREORDER
RELEASE DATE: 6/21/2019
The Catenary Wires are Rob Pursey and Amelia Fletcher. They specialize in emotive indie duets, capturing the spirits of Nancy Sinatra and Lee Hazelwood, Serge Gainsbourg and Brigitte Bardot, and releasing them into modern Britain. The resulting songs will appeal to fans of Courtney Barnett and Kurt Vile or Isobel Campbell and Mark Lanegan. On Til The Morning, they are joined by Andy Lewis (Paul Weller Group, Spearmint) on cello, mellotron, and percussion and Fay Hallam (Makin' Time, Prime Movers) on Hammond organ and backing vocals. Matthew King (a classical composer) plays piano. Nick and Claire Sermon play brass. The local Kentish countryside provides ambient noise. The album was recorded during 2018 at the Sunday School, in the middle of nowhere in Kent. It is a big step forward from their first album, Red Red Skies (2015): more complex and more beguiling, with a multi-layered sound that reflects a range of additional instruments, including harmonium, bells and an old trailer. It was produced by Andy Lewis, who has recently produced albums for Judy Dyble and French Boutik.
Matt Haynes, ex-head of Sarah Records, writes: "When a wire is hung from two fixed points, the shape it makes is a catenary. Its beauty lies in its simplicity -- so natural, so effortless. And when two people who, after starring in a quartet of legendary pop bands, have themselves become pop legends, decide to leave London's indie scene to those with fewer candles on their cakes and set up home in a distant green corner of Kent . . . The sound they make is The Catenary Wires, aka Amelia Fletcher and Rob Pursey, formerly of Tender Trap, Marine Research, Heavenly, and proto-riot-grrrl machismo-mocking punk-pop explosion Talulah Gosh . . . Til The Morning isn't folk music, though, fetishizing the rustic and the past with straw-headed notions of authenticity. The recordings might be home-made in an un-soundproofed room, with each sigh as clear as breath on an icy morning, and the snare an old metal trailer hit with a stick, but they're computer literate and polished to a warm sheen. And when birdsong fills the gaps, it comes with reverb. It isn't lo-fi, either, unfocussed and meandering -- why would two people who've spent their lives crafting three-minute pop gems suddenly do that? The songs are uncluttered because all that's there is what needs to be there..."
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LP
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TR 438LP
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$22.00
PREORDER
RELEASE DATE: 6/21/2019
LP version. The Catenary Wires are Rob Pursey and Amelia Fletcher. They specialize in emotive indie duets, capturing the spirits of Nancy Sinatra and Lee Hazelwood, Serge Gainsbourg and Brigitte Bardot, and releasing them into modern Britain. The resulting songs will appeal to fans of Courtney Barnett and Kurt Vile or Isobel Campbell and Mark Lanegan. On Til The Morning, they are joined by Andy Lewis (Paul Weller Group, Spearmint) on cello, mellotron, and percussion and Fay Hallam (Makin' Time, Prime Movers) on Hammond organ and backing vocals. Matthew King (a classical composer) plays piano. Nick and Claire Sermon play brass. The local Kentish countryside provides ambient noise. The album was recorded during 2018 at the Sunday School, in the middle of nowhere in Kent. It is a big step forward from their first album, Red Red Skies (2015): more complex and more beguiling, with a multi-layered sound that reflects a range of additional instruments, including harmonium, bells and an old trailer. It was produced by Andy Lewis, who has recently produced albums for Judy Dyble and French Boutik.
Matt Haynes, ex-head of Sarah Records, writes: "When a wire is hung from two fixed points, the shape it makes is a catenary. Its beauty lies in its simplicity -- so natural, so effortless. And when two people who, after starring in a quartet of legendary pop bands, have themselves become pop legends, decide to leave London's indie scene to those with fewer candles on their cakes and set up home in a distant green corner of Kent . . . The sound they make is The Catenary Wires, aka Amelia Fletcher and Rob Pursey, formerly of Tender Trap, Marine Research, Heavenly, and proto-riot-grrrl machismo-mocking punk-pop explosion Talulah Gosh . . . Til The Morning isn't folk music, though, fetishizing the rustic and the past with straw-headed notions of authenticity. The recordings might be home-made in an un-soundproofed room, with each sigh as clear as breath on an icy morning, and the snare an old metal trailer hit with a stick, but they're computer literate and polished to a warm sheen. And when birdsong fills the gaps, it comes with reverb. It isn't lo-fi, either, unfocussed and meandering -- why would two people who've spent their lives crafting three-minute pop gems suddenly do that? The songs are uncluttered because all that's there is what needs to be there..."
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HPS 106LTD-LP
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$31.00
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RELEASE DATE: 6/7/2019
LP version. Limited edition splatter vinyl.
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LP
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HPS 106LP
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$23.00
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RELEASE DATE: 6/7/2019
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CD
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HPS 106CD
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$15.50
PREORDER
RELEASE DATE: 6/7/2019
In December 2018, Marco Nieddu and Gabriele Fancellu formed a doom band called 1782 in honor of all the "witches" murdered by the bigoted minds of many generations. In 1782, Anna Göldi was condemned, she was tortured and killed, this was the last witchcraft trial in Europe. On this debut album, 1782 deal with macabre themes: from spells to ruthless torture, from the pleasure of sex to the most perfidious revenge. Seven tracks of pure doom metal sound with mega-riff stoner doom intervals, accompanied by a rhythm section of powerful drums, intense bass, and super-fuzzy guitars. "Celestial Voices" is a cover of Pink Floyd. "She Was A Witch" features Gabriele Fiori.
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LP
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LION 177LP
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$25.00
PREORDER
RELEASE DATE: 5/31/2019
"In February of 2009, Jim Valice of Index discovered three reels in a cardboard box stuffed in a closet of his parents home in Michigan. These songs from 1969 were on those reels. Fourteen original compositions by Index, seven making their vinyl debut, the other seven released for the first time ever, all transferred from the original tapes! Index was once again a pure power trio by 1969. There was massive demand for Index personal performances. Index was not interested. It was becoming more difficult for guitarist John Ford to travel back from Yale University to Detroit on a weekly basis. Index wanted to push the bounds of their own creativity. They chose to use their limited time together to write and record. Index were the epitome of a DIY band. They made great use of the newly developed sound on sound (SOS) technology. It allowed Index to record basic tracks (guitars, drums and lead vocals); with SOS they then could add keyboards, additional guitar tracks and vocals. A musical revolution in miniature! The addition of Tom Ballew on bass in 1968 made a positive impact on Index's sound. He and drummer Jim Valice laid down a musical foundation in and around which John would weave his guitar. 'Livin' In Detroit' and 'Kick It Out' are two perfect examples of that dynamic. Here you'll also find over-the-top psychedelic numbers like 'Street Crime' and the fast version of 'Yesterday and Today.' But on this album you'll also find mature romantic ballads filled with angst, such as 'Love is Here To Stay' and 'I Walk Alone.' The hip-shaking, organ-driven '432 Lakeshore' highlights another groovier aspect to Index's sound. The music of Index has been lauded by music heads for decades with good reason: the band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. It's wonderful, droning, murky and introspective: the atonal side of late 1960's rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock... artists like Joy Division or the Fall or Felt to name three out of a thousand. Or in the case of the previously unreleased song 'Something Sweet,' The Jesus & Mary Chain. It's as if Index projected their sound through time and space, creating sonic templates for future artists. Index continues to inspire bands all over the world even to this day. Listen to Index and feed your soul. All tracks are new to vinyl +this is first release in any format for seven out of the fourteen total tracks. Includes a 4-panel color insert, written by Index drummer Jim Valice, detailing the band's rock and roll adventures, replete with rare photos."
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LP
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SR 114LP
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$15.50
PREORDER
RELEASE DATE: 5/24/2019
First time ever on vinyl, re-released in our Sub Rosa Blackcore series. City of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banaras also contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced, featuring Trilok Gurtu on tablas, Coil (Peter Christopherson and John Balance) on electronics, Tetsu Inoue on sound collages, and Lori Carson on vocals. City of Light was recorded in Banaras, India, and mixed in Greenpoint, New York. It is about Banaras, a city older than history, tradition, and legends. It is Shiva's land, founded at the dawn of creation, and it is India's oldest and most fabled city. The Hindus call it Kashi, the luminous, the City of Light. Features a historical introduction by Hakim Bay. "Indian" green vinyl; Edition of 500.
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2LP
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PFL 218LP
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$34.00
PREORDER
RELEASE DATE: 5/24/2019
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LP
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VDSQ 024LP
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$21.00
PREORDER
RELEASE DATE: 5/24/2019
"End of the Night was conceived based around a simple, yet extremely emotionally resonant concept. Late one evening the musician and myself were listening to records at home. After many hours it got to the point where everything became completely still, the silence permeating the walls, reverberating. We agreed to listen to one more record, but what would it be? What music could answer that existential quandary of the perfect last record of the night at home? I instantly asked him to make me the very record we needed to hear at the moment, a record for the end of the night. Several years passed before the execution of the concept could take place but Brokaw was collecting notes in the back of his mind the entire time. I suggested collaborators like Greg Kelley (on Chet Baker style trumpet, knowing Brokaw's strong affinity for that player) and Samara Lubelski (whom he played with briefly in Thurston Moore and the New Wave Bandits). Bringing in guests such as Lori Goldston, David Michael Curry, Luther Gray, Jonah Sacks and Timo Shanko, each track has its own unique combination of small group formations (duos, trios, quartets) very much like jazz, both in instrumentation and mood, if not style or standards. While Brokaw himself is a brilliantly narrative guitarist, known for taking collaborative projects he's involved with to new heights, rarely has he opened his solo work to the same collaborative spaces as with his group projects. The result is a multi-hued, jazz-tinged instrumental record with a melancholy resolve and a deep blue/purple filter. Very much a product of his song writing and playing, End of the Night's guests allow the guitarist to show his interplay and prowess in a variety of settings rooted around a common theme. The album art was done by Hollywood legend Sandy Dvore (Buffalo Springfield, The Cake, Partridge Family), who composed the drawing after hearing the album in full, directly inspired by the music, adding a visual element similar to the stylistic innovations of David Stone Martin. Unlike anything else in Brokaw's catalog, VDSQ is proud to issue this essential recording that we believe merits new attention to a beloved artist who has been part of the fabric of the underground/independent music community for decades. While we have the utmost respect for his body of work, both solo and with his many groups, The End Of The Night may very well be the greatest record he's yet made. We hope this special album has a place on your stereo for many years to come. Play at night and not too loud."
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CD
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PFL 218CD
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$15.00
PREORDER
RELEASE DATE: 5/24/2019
"Resurrected from the ashes of one of the most influential death metal bands of all time -- Nocturnus -- Nocturnus AD was initiated by founder/mastermind/death metal legend Mike Browning (also co-founder of Morbid Angel) to continue the path that was laid down, twenty-eight years later, by the legendary Florida death metal band's seminal 1990 album The Key, an album recognized as one of the most important death metal albums of all time. Entitled Paradox, this debut album is the direct and proper follow-up to that album, musically and thematically, with the story and themes vocalist/drummer Browning laid out then continuing on through the lens of the occult. The story follows the journey of Dr. Allen William Magus (aka Dr. Magus), a scientist who got ravaged by a war plague disease and kept what was left of himself alive by creating a bio suit. Musically, the album's otherworldly, technical dark atmospheric occult death metal blueprint harnesses and carries on the energy of the original album as well as the overall cult death metal vibe of the early '90s in the singular forward-thinking that Nocturnus exhibited back then. With Browning commanding the craft alongside a lineup that also forms his other band, After Death, the Nocturnus legacy continues through guitarists Demian Heftel and Belial Koblack, bassist Daniel Tucker (ex-Obituary), and keyboardist Josh Holdren. With the blazing and fervent guitar work and the carefully orchestrated keyboards being the most developed out of any Nocturnus-related release, these integral components solidify the calculated pummeling rhythm section and resurrect their classic sound. And of course Browning's distinct vocals spewing the incantations contain the classic vocal traits from the original album as well as Morbid Angel's classic Abominations Of Desolation, which Browning was the co-writer of. Paradox will see Nocturnus AD reclaim and continue to properly carry the torch of the legacy Nocturnus' laid down with The Key, finally, after twenty-eight years."
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LP
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PL 088LP
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$25.00
PREORDER
RELEASE DATE: 5/24/2019
In 1988, the legendary freak wave outfit Ornament & Verbrechen handed out some 20 to 30 copies of their Rotmaul-Tape to friends. The band, formed by the Lippok brothers, emerged from the first East Berlin punk group Rosa Extra and the avant-wave project Fünf Wochen im Ballon. From the moment of O&V's inception, the band was the wellspring for many acts that would subsequently branch off as tributaries and streams in the East Berlin underground music community. Bands like Aufruhr Zur Liebe and projects like Corp Cruid, The Local Moon and Bleibeil originated in the environment or from the collaboration with a band that functioned like an open house in the closed institution GDR. By 1995, To Rococo Rot and Tarwater had formed from this tried-and-tested framework, pursuing the template without copying it. After the GDR infarction in 1989, the project Ornament & Verbrechen continued to glow, sparking new ideas and flaring up again today. Edition of 500.
Tapetopia is a series of vinyl releases based on cassettes from the East Germany's '80s underground, particularly from the East Berlin "Mauerstadt" music scene, featuring original lay-outs and track lists. For over 30 years after their initial "release" the music on these tapes was neither available on vinyl nor CD, but they were important statements in the canon of the GDR subculture. Despite the miniscule number of original cassettes in circulation at the time many of the bands were popular in countercultural circles, a factor that made them highly suspect among the government's own inner circles. Tapetopia is edited by Henryk Gericke.
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LP
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HPS 095LP
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$23.00
PREORDER
RELEASE DATE: 5/10/2019
LP version. Are they glam? Are they metal? Stoner rock? Psych? Prog? For over a decade, people have been trying to pin down Glitter Wizard but this San Francisco band refuses to be pigeonholed. Pulling influences from the entire heavy rock canon, G Wiz combines scorching guitar riffs and spaced-out synths to creates something familiar, yet entirely new and weird. Their latest album, Opera Villains, brings the heat that you've come to expect from the band but adds a layer of dramatism that you haven't heard before.
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CD
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PNY 3307CD
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$17.50
PREORDER
RELEASE DATE: 5/10/2019
Four years since their first self-titled release (PNY 3304CD/LP, 2015), La Batteria, one of the most brilliant Italian bands in the field of instrumental music, are back with their brand new second album. Seventy minutes of music spanning 18 tracks released on Penny Records. Against the rules of today's market and more in the '70s classic rock tradition, here is a consistent double-album carrying both the band's typical cinematic atmospheres and the four members individual experiences and personal taste. It's a sort of musical journey where different ages and genres melt together within the Roman band's unique style. Through the various tracks you can easily find the complex writing of Fonderia (the other band of members Bultrini, Vicarelli, and Pecorelli) and the peculiar rhythmic groove of Nerattini's hip-hop productions, and the endless cross-contamination coming from their common project of the Orchestra di Piazza Vittorio. Prog-rock, funk, hip-hop, classical music, electronics, Latin grooves, Italo-disco, psychedelia, and hard rock, all perfectly melt together in a fascinating new work which places the band in the great Italian tradition of music for images, luckily far from being a mere copy of an unrepeatable age. "Listening to 'Chimera' by La Batteria: authentic, cinematic, beautiful." --Barry Adamson
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LP
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FTR 435LP
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$18.50
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RELEASE DATE: 5/10/2019
"First LP by this rather berserk Portland Oregon duo, made up of vocalist/electronics-scrambler Noa Ver and drummer/electronics-scamperer Zach D'Agostino. Our experience with Portland music had led us to believe it often has a mellow and/or gentle edge, but Sea Moss offer none of that. Their raucous, face-to-face approach to duo dynamism is as weirdly aggressive as anything that's ever come out the dag end of Brooklyn or Providence, and that's saying something. Using homemade electronic devices that generate vast heaps of splutter and careenage, employing a percussive technique that would make Fred Flintstone proud, and singing into a microphone that makes everything sound like someone howling curses through an elevator's intercom, Sea Moss have arrived at a modus operandi that will makes weaklings poop eggs. The wildness of their approach is most evident in live concert, where they spend all their energy hurling figurative rolling p[ins, frying pans and glottal pronouncements directly into each other's faces. But on vinyl, it's possible to ponder the structural and lyrical gambits they use to attack each other. The lyrics, at least what I think I can make out of them, explode like strings of haiku written during a particularly hectic game of Exquisite Corpse. And the instrumental portions of the tunes often sound as though they were written for a Chrome tribute concert to be performed by lighthouse foghorns. The other day, while I was playing this in the store, someone commented that the vocals reminded them of very early Guerilla Toss. I pointed out that while there might be some small surface similarities, the utter weirdness of the underlying music pretty much negated comparison. Then I threw them out. Sea Moss is doing some crazy shit. Don't beggar them with comparisons. Listen with all your holes open and pass the goddamn drool cup." --Byron Coley, 2019 Edition of 250.
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LP
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DBQP 015LP
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$18.00
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RELEASE DATE: 5/10/2019
Live In London In The Early Sixties features the early mythical Soft Machine in the trio line-up of Kevin Ayers, Mike Ratledge, and Robert Wyatt, captured live in the full swinging London atmosphere. These were the band's psychedelic days, when their original magic potion was composed of unconventional songs and freaky organ, bass and drums improvisations. The group was exploding throughout the London club scene, delivering one of the most innovative and influential sounds of that musically and culturally fertile era.
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7"
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MR 7315EP
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$12.00
PREORDER
RELEASE DATE: 5/10/2019
The Loons keep growing, learning, creating, evolving but never compromising. Their latest 7" presents three new and diverse creations: "A Dream In Jade Green" is an intense, high-energy psychedelic number; two parts hallucination, one part seduction. "Memories Have Faces" is a primal, percussive, jungle workout with wailing steel guitar and Yardmerizing harmonica, while "Don't Make Me Wait" is a straight-ahead, hip-shaking '60s beat number. Formed in San Diego more than 20 years ago, The Loons have recorded and released four albums.
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PIC. DISC
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TDP 54002LP
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$21.00
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RELEASE DATE: 5/10/2019
Trading Places present a reissue of Apple's An Apple A Day..., originally released in 1969. British psychedelic band Apple was formed in the industrial powerhouse of Cardiff, north Wales, in 1968 by guitarist Robbo Ingram and bassist Jeff Harrad. Joined by drummer Dave Brassington, keyboardist Charlie Barber, and singer Dennis Regan, their debut single "Thank U Very Much" (1968), arranged by session guitarist Big Jim Sullivan, sparked the interest of Larry Page, who signed them to his Page One label to cut the debut album An Apple A Day... with producer Caleb Quaye (the son of the multi-instrumentalist Cab Quaye and older brother of future singer Finley Quaye). Unfortunately, Apple's mixture of pop, psychedelia and heavy blues was probably a bit too ahead of its time; the album sold poorly on release and the group probably would have been totally forgotten, if not for belated critical acclaim, especially for Harrad's haunting "The Otherside". With rare originals incredibly hard-to-find, regularly selling for thousands of pounds, this reissue is long overdue. 180 gram, picture vinyl.
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7"
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SCRATCHY 061EP
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$11.00
PREORDER
RELEASE DATE: 5/10/2019
"Magic Coins" is an unexpected rhythm track that is seemingly drum and bass-inspired, written collectively by all three band members. Hailing from London, Bromide are Simon Berridge on vocals and guitar, Ed Lush on drums, and Hugo Wilkinson on bass. These songbirds worship at the altars of Hüsker Dü, Teenage Fanclub, The Replacements, Guided By Voices, Dinosaur Jr., The Only Ones, Buffalo Tom, and other melodic rockers equally obsessed by songs, songwriting, and the euphoria associated with playing music through amplified electronic equipment.
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CD
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HPS 095CD
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$16.50
PREORDER
RELEASE DATE: 5/10/2019
Are they glam? Are they metal? Stoner rock? Psych? Prog? For over a decade, people have been trying to pin down Glitter Wizard but this San Francisco band refuses to be pigeonholed. Pulling influences from the entire heavy rock canon, G Wiz combines scorching guitar riffs and spaced-out synths to creates something familiar, yet entirely new and weird. Their latest album, Opera Villains, brings the heat that you've come to expect from the band but adds a layer of dramatism that you haven't heard before.
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7"
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SSR 065EP
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$11.00
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RELEASE DATE: 5/10/2019
The Brighton bag-head boys are back to finally follow up their 2016 demo Tory Party Prison. Not straying far from the NWOBHC blueprint of NY83 and classic UK Oi sounds, Built For Destruction is a brick through your living room window, and it's screaming Britain's fucking burning mate! Snotty southern vocals that bring to mind Dead Mans Shadow, scrapping with brash guitars and thumping beats that kick and punch like The Abused, while keeping the raw intensity that The Insane captured so perfectly when the Tories were picking this country apart piece by piece the last time round. Red vinyl.
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LP
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BB 322LP
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$22.00
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RELEASE DATE: 5/10/2019
LP version. "It's the terror of knowing what this world is about," David Bowie sang in 1981, backed by Queen. He performed the remarkable feat of taking a song with such lyrics and creating a hit. Von Spar's Under Pressure also knows what this world is about, with its intimidatory posturing, acute social competition and the fight for survival as we enter an age of surveillance capitalism. The music's inherent urgency is in evidence from the very first beat, yet it still appears to float freely, creating space for reflection and self-interrogation. What others call a "band", Von Spar see as a modular system. The creative community of Sebastian Blume, Jan Philipp Janzen, Christopher Marquez, and Phillip Tielsch is in a state of constant flux. Von Spar is an interface, providing access to rediscovery and fresh experience of, to all intents and purposes, the familiar. Under Pressure is their fifth album, not counting their homage to Can (recorded live with Stephen Malkmus). 15 years have passed since their debut Die Uneingeschränkte Freiheit Der Privaten Initiative (2004), five since Streetlife (2014). On closer examination, there is a chameleonesque quality to Von Spar's discography. Their records are the result of continuous metamorphosis, opening wormholes to post punk, krautrock and '80s art pop. The constants: rhythmic refinement and harmonic quantum leaps, swirling synthesizer arpeggios, backwards guitars with no hint of retrogradation. The eight songs on Under Pressure were recorded in Von Spar's Dumbo Studio in Cologne, with various guests from adding noteworthy contributions. As on Streetlife, the formative voice belongs to Chris A. Cummings aka Marker Starling. His distinctive falsetto graces over half of the songs, asking: "Is there a cure for this/Unhappiness, happiness?" On the opening track, Cummings is joined by Eiko Ishibashi (Kafka's Ibiki, Jim O'Rourke, Merzbow) in a Japanese dream sequence exploring where they might get to if the shackles of the flesh are cast off. Punk and reggae professor Vivien Goldman (The Flying Lizards) picks up the thread and liberates herself from the ghosts of the past on "Boyfriends (Dead Or Alive)". Lætitia Sadier (Stereolab) sings on the album's kraut-pop hit "Extend The Song" which could run and run for ever, powered by motoric energy: "If someone would ask me/Could I go on?" Less answers, more questions -- this is the song's greatest leitmotif. It is left to low-fi maverick R. Stevie Moore to pose the question on "Falsetto Giuseppe" "Should I worry?" Of course!" --Arno Raffeiner
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LP
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TDP 54005LP
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$19.50
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RELEASE DATE: 5/10/2019
Trading Places present a reissue of The Larry Page Orchestra's Kinky Music, originally released in 1965. Aspiring Welsh pop singer Leonard Davies became Larry Page in the mid-1950s, when Columbia Records issued his material on 78s and 45s, including a cover of Buddy Holly's "That'll Be The Day"; he also played banjo in the Crane River Jazz Band. Known as "Larry Page the Teenage Rage", he toured Britain with Cliff Richards and regularly appeared on national television. Shifting to a management and record production role in the early 1960s, he struck gold in 1964 upon signing a management contract with a band called The Ravens, who he re-named The Kinks, which swiftly became one of the most popular acts of the day. Noting that Rolling Stones producer Andrew Loog Oldham had formed his own orchestra to cut orchestrated versions of Stones hits, Page put together the Larry Page Orchestra for debut disc, Kinky Music, which similarly reconfigured the Kinks' work. A pleasant romp through first-phase Kinks classics, it is also noteworthy as an early showcase for future Led Zeppelin guitarist, Jimmy Page. 180 gram vinyl.
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LP
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GZH 089LP
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$25.00
PREORDER
RELEASE DATE: 5/10/2019
French modern-classical quartet Astrïd return with the first part of a new release entitled A Porthole. Conceptually, the two records will work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a year's time and will turn its attention to the night sky and constellations. A Porthole continues Astrïd's signature style of billowing guitars, strings and woodwinds. Each element is intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017's acclaimed Through The Sparkle (GZH 073CD/LP) with renowned pianist Rachel Grimes (of Rachels) set the bar high for this release but Astrïd have matched the depth, melody and quality of that record here. Part one of this journey features some sublime compositions with Cyril Secq's expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place; nothing is overplayed or out of step here, and there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath. A Porthole is a deeply charming record, exercising glorious, nuanced refrains and offering a sort of hope rarely found in music these days. Mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks), art by Gizeh overlord Richard Knox. Edition of 300 on aqua blue vinyl, includes download.
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LP+CD
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MR 387LP
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$25.00
PREORDER
RELEASE DATE: 5/10/2019
These previously unreleased live and studio sessions are a loose exercise in spontaneity, and sheer art, which has been lost in the mists of time. Geronimo Black, a truly underrated band from Los Angeles, had existed long before its self-titled debut album released officially by UNI Records in February 1972. Composer, arranger, keyboard player, and founding member Andy Cahan, who also part of Dr John's band at the time. Despite the fact that nearly all his players were part of the busy schedule of the evolving Frank Zappa's band Mothers Of Invention, Cahan attests that "it was a real band with every intention of getting a record deal. Of course, since Jimmy Carl Black, Ray Collins and Bunk Gardner were from Zappa's original band, that was a big selling point to record companies." Talking about the songs on Freak Out Phantasia release, which preceded the first official album, Andy mentions that The Beatles were his main influence. Also, he namechecks other luminaries such as The Zombies, Kinks, Loving Spoonful, Hendrix, Cream, Dave Clark Five, and The Beau Brummels. The live output found on this release is part of their non-stop gigging system. It's worth pointing out that around that time, they were playing gigs with The Eagles, Delaney & Bonnie, The Byrds, Eric Burdon, Joe Cocker, Ike & Tina Turner, The Standells, Canned Heat, Southwind, Taj Mahal, Little Feat, and many others. Some songs herein included were recorded in a prison. Even doing very well on their live adventures, in terms of breaking through in sales, Geronimo Black never had the same lucky destiny of many of their Californian contemporaries. Singing a record deal with Uni Records around Christmas time, they were essentially deemed a tax right-off and were billed thousands of dollars on no income. Back to the present, some highlights of Munster Records' compilation include "Topanga Canyon People" and "Ooh Poo Pah Doo" (both live recordings showing their total intensity and stoned freak-out atmosphere, recalling Zappa's sound, which obviously they were part of). "Let Us Live" is a superb song, with a bluesy-pop-twisted Southern rock vibe. An alternate version of "Siesta" is another key song, and in some ways resembles "Flute Thing", a classic instrumental by The Blues Project. Now it is time to enjoy these recordings because they "reveal the raw passion and excitement we had on stage", as Andy concludes. Includes CD with four bonus tracks.
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HDYANE 001CD
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$15.50
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RELEASE DATE: 5/10/2019
The perfect soundtrack of a very first "french kiss", of an early morning sunset by the Seine Songs to relax to or to fall in love with, songs to dance to or to dream with the soundtrack of an extraordinary life -- your life, maybe NEO is the next chapter for the critically-acclaimed compilation series Too Slow To Disco. For DJ Supermarkt it was time to explore the exciting new, modern smooth sounds of the present. With TSTD NEO - En France, How Do You Are? Recordings go to the exciting European capital of all things mellow, elegant, slightly erotic, and pop. The compilation contains 17 tracks -- some of them never released and exclusive for this compilation -- featuring two godfathers and grand seigneurs: the legendary Bertrand Burgalat, head honcho of the Tricatel label, musician, composer, arranger, producer, and the electro-disco wizard Yuksek who also runs the infamous Partyfine label. The others are the kids of Michel Legrand, Les Jeunes Gens Modernes, and the French Touch, they sometimes try to marry "Debussy to a disco beat", they've all got this blue melancholy which you only find in the French streets, they sing in in their mother tongue or in their so very charming English accent without any complexes. They're boys and girls. Duos (Bleu Toucan, Poom, or Weekend Affair...), bands (L'Impératrice, Cléa Vincent, and her friends), collectives (the elusive Catastrophe) or solo artists (Jean Tonique, Lomboy, Magnüm, Saint DX...) mix candid melodies and Gainsbourgienne basslines, electro arrangements, and sensual grooves. There are funky guitars licks and -- as usual with TSTD -- way too many saxophones (it sounds like Duran Duran's "Rio"), slap basses, and some vocoders, even features a great ironic use of the modern autotune. It's the perfect soundtrack of a very first "french kiss", of an early morning sunset by the Seine -- or by the sea (you choose) --, of a late bar evening session, sipping red wine or a dry martini cocktail -- once again, you choose. They're songs to relax to or to fall in love with, songs to dance to or to dream with. They're the soundtrack of an extraordinary life. Your life, maybe. Also features Ricky Hollywood, Claap! & Santana, Polo & Pan, DJ Supermarkt, Jack Tennis, and Paradis. Contains three exclusive, unreleased tracks. CD version includes booklet with liner notes.
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