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2CD
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ROTOR 074CD
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Rotorelief present a reissue of Alésia Cosmos's Aeroproducts, originally released in 1985. Includes bonus material. In the '80s, Alésia Cosmos was one of those pioneering groups that invented a handful of things: uprooted electro, pop-shifted, funk. With some synths, rhythm boxes, magnetic tapes, crazy guitars, and hallucinated voices, AC rocked the underground for four years, with two albums, playing live in France and Europe. The dazzling epic of the magic combo has become legendary in the margin of new European music. The first LP, Exclusivo!, was self-produced in 1983 and marks the beginning of the association between Bruno de Chénerilles, Pascal Holtzer, and Marie-Berthe Servier who constituted the hard core of Alésia Cosmos. Forming an underground label, mail order, and radio station, the three musicians were also activists in the musical underground so fertile in the '80s. In 1985, the second album Aeroproducts was published by the Swiss label Hat Hut Records. Recorded, produced, and designed by the group, the object to the three photos captured in the windows of the Musée Zoologique de Strasbourg, was not quite a double-LP, because it contained only three sides of recorded music. In early 2017, the Californian label Dark Entries reissued Exclusivo! Rotorelief engages in a longer process of new production from the second album Aeroproducts. In 2018, the rediscovery at the end of the archives of the group of intact multitrack analog tapes coming directly from the studio sessions used for Aeroproducts allowed a remixing, a new mastering, with some new versions and bonus tracks, produced just before or after the period of activity of Alésia Cosmos. Housed in a DVD-sized digipak; limited, numbered edition of 500.
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2LP
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ROTOR 074LP
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Double LP version. Rotorelief present a reissue of Alésia Cosmos's Aeroproducts, originally released in 1985. Includes bonus material. In the '80s, Alésia Cosmos was one of those pioneering groups that invented a handful of things: uprooted electro, pop-shifted, funk. With some synths, rhythm boxes, magnetic tapes, crazy guitars, and hallucinated voices, AC rocked the underground for four years, with two albums, playing live in France and Europe. The dazzling epic of the magic combo has become legendary in the margin of new European music. The first LP, Exclusivo!, was self-produced in 1983 and marks the beginning of the association between Bruno de Chénerilles, Pascal Holtzer, and Marie-Berthe Servier who constituted the hard core of Alésia Cosmos. Forming an underground label, mail order, and radio station, the three musicians were also activists in the musical underground so fertile in the '80s. In 1985, the second album Aeroproducts was published by the Swiss label Hat Hut Records. Recorded, produced, and designed by the group, the object to the three photos captured in the windows of the Musée Zoologique de Strasbourg, was not quite a double-LP, because it contained only three sides of recorded music. In early 2017, the Californian label Dark Entries reissued Exclusivo! Rotorelief engages in a longer process of new production from the second album Aeroproducts. In 2018, the rediscovery at the end of the archives of the group of intact multitrack analog tapes coming directly from the studio sessions used for Aeroproducts allowed a remixing, a new mastering, with some new versions and bonus tracks, produced just before or after the period of activity of Alésia Cosmos.
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10"
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ROTOR 075EP
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Known as pioneers of the new era noise rap scene Moodie Black has snuggly nestled themselves into alt rap lore. "Noise rap pioneers" Moodie Black, called "brilliant and formidable" (Noisey), will release MB III, the third installment in a series of breakout EPs that began with MB and led to their signing with label Fake Four Inc.
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2CD/BOOK
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ROTOR 070BK
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Double-CD version includes 30-page metallic hardcover book (15 x 20 x 2cm) containing color and black-and-white art by Babs Santini (Steven Stapleton). Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is "a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques". The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The title of the brief closing track derives from a passage from "Les Chants de Maldoror" (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound's debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont's work. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track "Astral Dustbin Dirge". This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period.
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LP
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ROTOR 049X-LP
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This Die Form side-project Die Form ÷ Hurt was recorded in a few days in 1984 under the name of Hurt, initially released in 1985 on the Bain Total label. This issue includes bonus material from a cassette of the same period, Some Experiences With Shock. All the tracks of the cassette, and other titles from Die Form, close in the spirit and in the form, have been added. This is the reissue of the previous edition appears first in the Archives des Musiques Industrielles de France collection, is now a part of a new series called Collection des Musiques Industrielles et Post-Industrielles de France with a new graphic line use original artworks from '70s and '80s. It is a kind of snapshot, close to the tears and chaos, where the machines and the out-of-control guitars are used as a support for the cry up, to the final exhaustion. Passion, pain, urge.
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LP
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ROTOR 049CLR-LP
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Clear vinyl version. Edition of 100. This Die Form side-project Die Form ÷ Hurt was recorded in a few days in 1984 under the name of Hurt, initially released in 1985 on the Bain Total label. This issue includes bonus material from a cassette of the same period, Some Experiences With Shock. All the tracks of the cassette, and other titles from Die Form, close in the spirit and in the form, have been added. This is the reissue of the previous edition appears first in the Archives des Musiques Industrielles de France collection, is now a part of a new series called Collection des Musiques Industrielles et Post-Industrielles de France with a new graphic line use original artworks from '70s and '80s. It is a kind of snapshot, close to the tears and chaos, where the machines and the out-of-control guitars are used as a support for the cry up, to the final exhaustion. Passion, pain, urge.
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LP
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ROTOR 064LP
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Travaux Inattendus Systèmes Aléatoires ("Collection des Musiques Industrielles et Post-Industrielles de France") is the first and unreleased album of La Division Technique, recorded from 1983 to 1987. The collection sounds like old-school electronics, soundscapes, minimal synth, industrial-ambient, with analog synthesizers, filters, voices and space sounds. Recordings which could be (un)defined with words like minimal synth, experimental, cold wave and noisy ambient, with an industrial approach.
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2LP
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ROTOR 062LP
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Scientific principles that outline the mechanical and industrial sounds, while techno-steel artifices create impenetrable barriers of destructive notes that freeze ubiquity experimental mechanisms. The development of computerized progress finally undergoes its final productive annihilation. For the first time, Rotorelief make available M.B.'s complete original double album Technology on vinyl, with all four tracks from the original 1981 master tapes. Originally released on cassette released, only with two tracks, in 1981.
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2LP
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ROTOR 062CLR-LP
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Clear vinyl version. Edition of 150 (numbered). Scientific principles that outline the mechanical and industrial sounds, while techno-steel artifices create impenetrable barriers of destructive notes that freeze ubiquity experimental mechanisms. The development of computerized progress finally undergoes its final productive annihilation. For the first time, Rotorelief make available M.B.'s complete original double album Technology on vinyl, with all four tracks from the original 1981 master tapes. Originally released on cassette released, only with two tracks, in 1981.
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2LP
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ROTOR 070LP
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Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is "a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques". The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The title of the brief closing track derives from a passage from "Les Chants de Maldoror" (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound's debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont's work. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track "Astral Dustbin Dirge". This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the "silver collection" of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut. Comes one black vinyl (ROTOR 070LP) and silver-and-black vinyl (ROTOR 070SIL-LP).
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2LP
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ROTOR 070SIL-LP
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Silver and black vinyl version. Metalic gatefold sleeve. Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is "a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques". The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The title of the brief closing track derives from a passage from "Les Chants de Maldoror" (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound's debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont's work. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track "Astral Dustbin Dirge". This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the "silver collection" of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.
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LP
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ROTOR 066LP
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Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in "Kontaktmechanik") has been combined with sonic lubrications of processed accelerators in "Umspulung". "Abrasion Métallique" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released "Kontraktion". The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.
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LP
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ROTOR 066CLR-LP
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Clear vinyl version. Edition of 150 (numbered). Extruder is the second unreleased album from the 1987 collaboration between Conrad Schnitzler and Siegmar Fricke (Pharmakustik) who composed and made several tapes of session-material during their musical meetings in Berlin. All recordings produced, arranged, and mastered by Siegmar Fricke at Pharmakustik-studio. The album contains high doses of hydraulically-driven energy generated by complex analog equipment. Micro-formed sound pools of cold extrusion collide with voltage-controlled pulsations, tape-echoed modulations, and eruptive sound-deformations. Electrostatic charge (caused by compressed configurations of mechanical rhythms in "Kontaktmechanik") has been combined with sonic lubrications of processed accelerators in "Umspulung". "Abrasion Métallique" contains all the acoustic trademarks by Conrad Schnitzler: excessive experiments with dissonant portamentos of the EMS-Synthi A and Korg MS20, overlaid by metallic pressure drag of the modified rhythm-machine. Acoustically and graphically, Extruder continues in the excellent Schwarz-Rot-Blau-series by Conrad like the pre-released 'Kontraktion'. The audiochemists Conrad Schnitzler and Pharmakustik developed a timeless and uncompromising masterpiece of audiomechanical engineering.
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2LP
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ROTOR 043LP
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Rotorelief present a reissue of Fine Automatic & Die Form, originally released on cassette in 1982. From the label's Collection Des Musiques Industrielles Et Post-Industrielles De France series. This new release, under the side project name Die Form ÷ Fine Automatic, titled Fine Automatic & Die Form, is a reissue vinyl -- previously released by Rotorelief as two separate LP parts, one (ROTOR 043AB-LP/ABRED) and two (ROTOR 043DC-LP/DCRED) -- presented here as a complete double LP. Recordings come from the original tape album. Black vinyl version (ROTOR 043LP) comes in an edition of 1000.
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2LP
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ROTOR 043CLR-LP
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Ultra clear vinyl version; Edition of 500. Rotorelief present a reissue of Fine Automatic & Die Form, originally released on cassette in 1982. From the label's Collection Des Musiques Industrielles Et Post-Industrielles De France series. This new release, under the side project name Die Form ÷ Fine Automatic, titled Fine Automatic & Die Form, is a reissue vinyl -- previously released by Rotorelief as two separate LP parts, one (ROTOR 043AB-LP/ABRED) and two (ROTOR 043DC-LP/DCRED) -- presented here as a complete double LP. Recordings come from the original tape album.
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LP
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ROTOR 063LP
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Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: "Battle Of Iena", "Waterloo's Front", and "Shiny Light" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design. Black vinyl version comes on 180 gram vinyl (ROTOR 063LP); Edition of 1000.
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LP
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ROTOR 063CLR-LP
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180 gram, ultra-clear vinyl version; Edition of 100. Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: "Battle Of Iena", "Waterloo's Front", and "Shiny Light" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design.
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LP
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ROTOR 063GOL-LP
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180 gram, gold & black vinyl version; Edition of 300. Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: "Battle Of Iena", "Waterloo's Front", and "Shiny Light" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. Deluxe embossed cover with gold foil design.
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LP
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ROTOR 056C-LP
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Black vinyl version. Color sleeve. Numbered edition of 2000 copies. Rotorelief present a reissue of Silver Apples' second album Contact, originally released in 1969. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 056C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 056C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 056S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 056S-SIL).
"Aside from Simeon's use of a banjo on a couple of tracks, the music on Contact does not differ from that of their debut. One aspect improved upon was the lyrics; many possess the same 'cosmic' element found on Silver Apples, but others are full of bitterness, pain, paranoia, and confusion. In turn, the lead oscillator is used to greater effect, reflecting this newfound intensity. Simeon, who composed the text for five of Contact's ten songs (he framed one song on Silver Apples, 'Dancing Gods'), was largely responsible for this change." --Bart Bealmear, AllMusic
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ROTOR 056C-CLR
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Clear vinyl version. Color sleeve. Numbered edition of 1000 copies. Rotorelief present a reissue of Silver Apples' second album Contact, originally released in 1969. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 056C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 056C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 056S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 056S-SIL).
"Aside from Simeon's use of a banjo on a couple of tracks, the music on Contact does not differ from that of their debut. One aspect improved upon was the lyrics; many possess the same 'cosmic' element found on Silver Apples, but others are full of bitterness, pain, paranoia, and confusion. In turn, the lead oscillator is used to greater effect, reflecting this newfound intensity. Simeon, who composed the text for five of Contact's ten songs (he framed one song on Silver Apples, 'Dancing Gods'), was largely responsible for this change." --Bart Bealmear, AllMusic
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ROTOR 056S-LP
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Black vinyl version. Silver gatefold sleeve. Numbered edition of 2000 copies. Rotorelief present a reissue of Silver Apples' second album Contact, originally released in 1969. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 056C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 056C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 056S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 056S-SIL).
"Aside from Simeon's use of a banjo on a couple of tracks, the music on Contact does not differ from that of their debut. One aspect improved upon was the lyrics; many possess the same 'cosmic' element found on Silver Apples, but others are full of bitterness, pain, paranoia, and confusion. In turn, the lead oscillator is used to greater effect, reflecting this newfound intensity. Simeon, who composed the text for five of Contact's ten songs (he framed one song on Silver Apples, 'Dancing Gods'), was largely responsible for this change." --Bart Bealmear, AllMusic
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ROTOR 056S-SIL
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Silver and black vinyl version. Silver gatefold sleeve. Numbered edition of 1000 copies. Rotorelief present a reissue of Silver Apples' second album Contact, originally released in 1969. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 056C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 056C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 056S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 056S-SIL).
"Aside from Simeon's use of a banjo on a couple of tracks, the music on Contact does not differ from that of their debut. One aspect improved upon was the lyrics; many possess the same 'cosmic' element found on Silver Apples, but others are full of bitterness, pain, paranoia, and confusion. In turn, the lead oscillator is used to greater effect, reflecting this newfound intensity. Simeon, who composed the text for five of Contact's ten songs (he framed one song on Silver Apples, 'Dancing Gods'), was largely responsible for this change." --Bart Bealmear, AllMusic
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ROTOR 055C-LP
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Black vinyl version. Color sleeve. Numbered edition of 2000 copies. Rotorelief present a reissue of Silver Apples' self-titled debut, originally released in 1968. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 055C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 055C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 055S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 055S-SIL).
"By 1967, the Overland Stage Electric Band was teetering on its last legs. The New York City five-piece had found some success playing covers of straight-ahead rock 'n' roll at gigs in the East Village, but tensions within the group were steadily tearing them apart. The lead singer, Simeon Coxe III, had gotten his hands on a vintage '40s audio oscillator and was insisting that it become a part of the show. The rest of the band was understandably upset - this was more than a decade before electronic music would become an accepted practice. Before long, the band was down to two members, Simeon, and drummer Danny Taylor. Now with full control, the two members re-christened themselves the Silver Apples and set about releasing one of history's great forgotten albums, their self-titled debut. Silver Apples is a record that reached far ahead of its time. It's not surprising then, in a year when the airwaves were still dominated by Motown and the Beatles (whose experimentation was tame by comparison), that it failed to garner much of an audience. Even now, nearly 40 years later, the record sounds fresh and unconventional - in 1968 there simply wasn't anything else like it." --Adam Bunch, Crawdaddy! (2007)
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ROTOR 055C-CLR
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Clear vinyl version. Color sleeve. Numbered edition of 1000 copies. Rotorelief present a reissue of Silver Apples' self-titled debut, originally released in 1968. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 055C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 055C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 055S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 055S-SIL).
"By 1967, the Overland Stage Electric Band was teetering on its last legs. The New York City five-piece had found some success playing covers of straight-ahead rock 'n' roll at gigs in the East Village, but tensions within the group were steadily tearing them apart. The lead singer, Simeon Coxe III, had gotten his hands on a vintage '40s audio oscillator and was insisting that it become a part of the show. The rest of the band was understandably upset - this was more than a decade before electronic music would become an accepted practice. Before long, the band was down to two members, Simeon, and drummer Danny Taylor. Now with full control, the two members re-christened themselves the Silver Apples and set about releasing one of history's great forgotten albums, their self-titled debut. Silver Apples is a record that reached far ahead of its time. It's not surprising then, in a year when the airwaves were still dominated by Motown and the Beatles (whose experimentation was tame by comparison), that it failed to garner much of an audience. Even now, nearly 40 years later, the record sounds fresh and unconventional - in 1968 there simply wasn't anything else like it." --Adam Bunch, Crawdaddy! (2007)
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LP
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ROTOR 055S-LP
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Black vinyl version. Silver gatefold sleeve. Numbered edition of 2000 copies. Rotorelief present a reissue of Silver Apples' self-titled debut, originally released in 1968. Available in four versions: A black vinyl version with a color sleeve in a numbered edition of 2000 (ROTOR 055C-LP); a clear vinyl version with a color sleeve in a numbered edition of 1000 (ROTOR 055C-CLR); a black vinyl version with a silver gatefold sleeve in a numbered edition of 2000 (ROTOR 055S-LP); and a silver and black vinyl version with a silver gatefold sleeve in a numbered edition of 1000 (ROTOR 055S-SIL).
"By 1967, the Overland Stage Electric Band was teetering on its last legs. The New York City five-piece had found some success playing covers of straight-ahead rock 'n' roll at gigs in the East Village, but tensions within the group were steadily tearing them apart. The lead singer, Simeon Coxe III, had gotten his hands on a vintage '40s audio oscillator and was insisting that it become a part of the show. The rest of the band was understandably upset - this was more than a decade before electronic music would become an accepted practice. Before long, the band was down to two members, Simeon, and drummer Danny Taylor. Now with full control, the two members re-christened themselves the Silver Apples and set about releasing one of history's great forgotten albums, their self-titled debut. Silver Apples is a record that reached far ahead of its time. It's not surprising then, in a year when the airwaves were still dominated by Motown and the Beatles (whose experimentation was tame by comparison), that it failed to garner much of an audience. Even now, nearly 40 years later, the record sounds fresh and unconventional - in 1968 there simply wasn't anything else like it." --Adam Bunch, Crawdaddy! (2007)
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