|
|
|
|
viewing 1 To 25 of 161 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ROTOR 073LP
|
Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. 200 gram vinyl; numbered and limited edition of 99 copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 073PUR-LP
|
LP version. Purple vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 071LP
|
Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. 200 gram vinyl; numbered and limited edition of 99 copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 071IVO-LP
|
LP version. Ivory vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 072LP
|
Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period. 200 gram vinyl; numbered and limited edition of 99 copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 072PIN-LP
|
LP version. Pink vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 076CD
|
The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann. CD version comes in deluxe DVD style packaging.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 076LP
|
LP version. The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/BOOK
|
|
ROTOR 077CD
|
Deluxe art book CD of 24-pages, sewn; all artworks by Babs Santini. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
ROTOR 079CD
|
Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal. Double-CD version comes deluxe DVD style packaging.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROTOR 079LP
|
Double LP version. Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 078LP
|
Kontraktion (ROTOR 051LP) and Extruder (ROTOR 066LP/CLR-LP) are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con's former studio Leberstrasse in Berlin. The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinist energy and infernal industrial sound-eruptions similar to Conrad's first three albums Schwarz (BB 112CD/LP), Rot (BB 102CD/LP), and Blau (BB 103CD/LP) and to the rumbling train wheel rhythms of Zug (MINIMAL 001LP) (from the Red Cassette 1974). The albums also carry the spirit of the first Cluster album (released in 1971 on Philips) due to the imposing brutalist elements and uneasy sci-fi atmospheres. Schubkraft, the third and final album of the Schnitzler/Pharmakustik-triology (recorded during the same sessions in Berlin) contains two long pieces of thrust generated force and propulsive power. Soundwise an album combining mechanically driven rhythms and propelling velocity with rusty organic textures. The shiny yellow cover reflects the sheer explosive drive of the audio-material. The complete session-material has been refurbished, restructured and recombined by Siegmar Fricke at Pharmakustik-studio Germany.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 063CD
|
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. In 1985. The first mini-album Shiny Battle in the Studio Garage. This mini-album is a marvel as it associates the pure tradition of the French cold wave bands adoring the bass with the high level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees. Regular CD with deluxe DVD style packaging. Includes six unreleased bonus, instrumental versions.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROTOR 077LP
|
2022 restock. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROTOR 077SIL-LP
|
2022 restock; double LP version. Silver vinyl. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 006X-CD
|
A reissue of Golem released in 1974, the legendary album from the cosmic and psychedelic genius that is Sand. Factory-noise, riveting hammers from the dockyards, agricultural machines, Starfighters low-level flights, land maneuvers by the British Forces in the mountainous countryside along the winding river were the culture medium for extended sound aesthetics. Sand was born and created the Golem...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
ROTOR 069CD
|
Over five decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The Vibrating Cloud floats powerfully across the vast expanses of sand, telling stories of confusion and aberration, rape of the planet, of the tenderness, hidden power and fragility of existence, the voracious digital demons, the loss of innocence in a surreal drama we call: World. Sand started with the Golem, the analog primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. Sand is the stage of the shadow struggles of Don Quixote, Faust's disappointed departure from science and the search for the infinite vastness of nature. The cunning, slyness and sophistication of the Mephisto in the big cities, the black town which has become an enemy habitat, and which produces people without earth, air pirates on air and passengers in circulation. The seductive Pandora, carrying in her box all the evils and hopes of this world, The Flying Dutchman's ghost ship roaming the seas. Sand is the story of the stranded and stuck but also the hopeful children's souls. The stories go from the me through the you to the we. So, in Vibrating Cloud, Sand and Enki Bilal merge into one psychedelic fiction. Sand kaleidoscopically reflects the facets of a darkened and then enlightened existence of man and the world and immerses himself musically and narratively in the spheres of Enki Bilal's mythology, conspiracy history, mixed-up comedy, science fiction and poetry. As Enki Bilal aptly put it: "I would say that this is a prospective reflection on our present world but in a different way in the future."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ROTOR 069LP
|
2022 restock; double LP version. Over five decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The Vibrating Cloud floats powerfully across the vast expanses of sand, telling stories of confusion and aberration, rape of the planet, of the tenderness, hidden power and fragility of existence, the voracious digital demons, the loss of innocence in a surreal drama we call: World. Sand started with the Golem, the analog primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. Sand is the stage of the shadow struggles of Don Quixote, Faust's disappointed departure from science and the search for the infinite vastness of nature. The cunning, slyness and sophistication of the Mephisto in the big cities, the black town which has become an enemy habitat, and which produces people without earth, air pirates on air and passengers in circulation. The seductive Pandora, carrying in her box all the evils and hopes of this world, The Flying Dutchman's ghost ship roaming the seas. Sand is the story of the stranded and stuck but also the hopeful children's souls. The stories go from the me through the you to the we. So, in Vibrating Cloud, Sand and Enki Bilal merge into one psychedelic fiction. Sand kaleidoscopically reflects the facets of a darkened and then enlightened existence of man and the world and immerses himself musically and narratively in the spheres of Enki Bilal's mythology, conspiracy history, mixed-up comedy, science fiction and poetry. As Enki Bilal aptly put it: "I would say that this is a prospective reflection on our present world but in a different way in the future."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 067LP
|
Rotorelief present La Division Technique's Nebula. Sounds like electronic old school, soundscapes, minimal synth, psych-industrial-ambient, noise synth wave with analog synthesizers, filters, voices and space sounds...
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 056CD
|
Rotorelief present a reissue of Silver Apples' second album Contact, originally released in 1969. Contact is the second album of the '60s NY duo Silver Apples, remastered and boosted with the texture and feeling of 1969 original.
"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
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 055CD
|
Rotorelief present a reissue of Silver Apples' self-titled debut, originally released in 1968. First album of the '60s NY duo Silver Apples, remastered and boosted with the texture and feeling of 1968 original. Simeon sailing heavily treated oscillator sounds over drummer Danny Taylor's unrelenting beats. homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second-hand electronic junk), Silver Apples quickly gained a reputation as New York's leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become "Krautrock" silver.
"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)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP BOX
|
|
ROTOR 071-73LP
|
This luxurious pink Cadillac color box set, 1973-1976-1979, brings together the first three albums of Jac Berrocal -- Musiq Musik (1973), Paralleles (1976), and Catalogue (1979) -- in which countless personalities of the crossover music of the hexagon participate. Musiq Musik (1973): Berrocal's first album, recorded in 1973 with the excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria, including various instruments such as bells, muezzins, conches, shenaïs, cymbals, and gongs embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. Paralleles (1976): Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock n' Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this is a noisy piece "Bric-à-Brac" made in homage to Luigi Russolo's repertoire reorganized by bonuses and unpublished from the same period. Catalogue (1979): Jac Berrocal and his "Marquises of Disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "Micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. Deluxe, rigid box set with three metallic covers and an impressive booklet of photos and unpublished documents; 200 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ROTOR 068CD
|
Rotorelief present a reissue of The Bonaparte's Welcome To The Isle Of Dogs, originally released in 1986. The second studio album from The Bonaparte's, an emblematic figure of French post-punk, released with the participation of Lol Tolhurst, founding member of The Cure. The singing and guitar work is reminiscent of Echo and the Bunnymen, other titles will remind you of the energy of Killing Joke, even in the psychedelic or Gothic moods. Welcome To The Isle Of Dogs is an album that has not been altered in time as it has been remastered to the reconfigured repertory. Includes a bonus track (not listed). Finally, this opus receives a splendid cover mixing master painting under LSD. CD version comes in digipak (DVD format).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ROTOR 068LP
|
LP version. 200 gram vinyl. Rotorelief present a reissue of The Bonaparte's Welcome To The Isle Of Dogs, originally released in 1986. The second studio album from The Bonaparte's, an emblematic figure of French post-punk, released with the participation of Lol Tolhurst, founding member of The Cure. The singing and guitar work is reminiscent of Echo and the Bunnymen, other titles will remind you of the energy of Killing Joke, even in the psychedelic or Gothic moods. Welcome To The Isle Of Dogs is an album that has not been altered in time as it has been remastered to the reconfigured repertory. Includes a bonus track (not listed). Finally, this opus receives a splendid cover mixing master painting under LSD.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
ROTOR 074CD
|
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.
|
viewing 1 To 25 of 161 items
Next >>
|
|