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SV 171LP
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"After two singles for Fast Product, Leeds art-punk collective The Mekons signed with Virgin Records in 1979. The band would have to borrow gear from their mates Gang Of Four to record their major label debut. In classic Mekons style, the album's back cover featured a photo of Gang Of Four instead of themselves. As Simon Reynolds writes, 'The Quality Of Mercy Is Not Strnen got a mixed reception at the time. Listening to it now, though, the first LP sounds more of a piece with the band's early punk singles. What's striking is the commonality of sound across the three key Leeds groups of that moment (Gang Of Four, Delta 5 and The Mekons). There are textural affinities in terms of scrawny abrasiveness and a general departure from rock 'n' roll norms of singing and emoting.' With boundless energy, The Mekons net a dozen barbed takes on pop culture, art and politics. 'What Are We Going To Do Tonight' stands out as a razor-sharp critique of leisure, while 'Beetroot' drowns apathy in angular riffs and catchy, unmelodic chants. Clad in one of the most striking record covers of its era, The Quality Of Mercy Is Not Strnen is now available in the US for the first time. Liner notes by Simon Reynolds."
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SV 166LP
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"Drummer, composer and poet William Hooker has been a tireless force in free improvised music for over 40 years. He emerged from New York's loft jazz scene in the mid-70s, part of a generation of artists fueled by the social, political and cultural frustrations of their era. This second wave of American free jazz would push relentlessly into new territories -- collaborating in a variety of non-traditional settings, establishing their own labels, venues, etc. -- all in an effort at creative self-determination. While William Hooker's output extends past 70 albums as leader, it all began with the double LP ... Is Eternal Life. Recorded in 1975-1976 and released privately on the artist's own Reality Unit Concepts imprint, ... Is Eternal Life is nothing short of visionary. Filled with tension, intricacy and raw fury, these extended compositions feature the playing of David Murray, Mark Miller, David S. Ware, Hasaan Dawkins and Les Goodson."
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SV 167LP
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"With This Kind Of Punishment, Graeme Jefferies and Peter Jefferies produced some of most adept DIY sounds to emerge from New Zealand's 1980s post-punk scene. After their phenomenal self-titled debut and classic A Beard Of Bees, the brothers would make one last album together, In The Same Room. Originally released in 1987 on Flying Nun, In The Same Room is perhaps the straightest rock offering in TKP's esteemed catalogue. Opening track 'Immigration Song' expertly pairs jagged guitars with wrathful vocals -- resulting in one of the most celebrated moments in their recording career -- while 'Don't Go' puts the full breadth of the Jefferies brothers' method on display: spiraling riffs, somber baritone and chamber-like calm give way to frenzied rhythms and antagonistic lyrics. From deeply insular songwriting to hands-on production, This Kind Of Punishment draw the listener in close -- nearly within the same room as the players -- and remain rooted in a distinct approach to presentation that is inseparable from their music."
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SV 165LP
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"In 1966, when Marion Brown was ready to make his first record as a leader, he was standing on the shoulders of giants. Formative associations with Ornette Coleman and Sun Ra established Brown as a saxophonist to watch, and he had already appeared on free jazz landmarks Archie Shepp's Fire Music and John Coltrane's Ascension. Originally released on Impulse!, Brown's debut lays down three startling originals and three tunes by Shepp -- echoing his mentor's 1964 homage to Coltrane, Four For Trane. Featuring Grachan Moncur III on trombone, Dave Burrell on piano and Norris 'Sirone' Jones on bass, Three for Shepp balances fiery energy and delicate precision. Side A showcases Brown compositions that mix modal structures with ecstatic playing, particularly when the bandleader chases Moncur and Burrell on the exhilarating 'The Shadow Knows.' On the album's all-Shepp side, 'West India' draws inspiration from India and Africa, while the feverish post-bop of 'Delicado' demonstrates the band's versatility, swept by the wheeling drums of Beaver Harris. Even this early in his career, Brown stood apart from his peers in 'the new thing.' His solos were as gentle as they were furious. Informed by the African American folk traditions of his native Georgia and an enthusiastic embrace of the avant-garde, his music would confront and challenge society. As Brown says in the original liner notes, 'The music is definitely a part of what's going on in the black revolution in America.' Three for Shepp still sounds crucial today (over 50 years later) and remains a vital statement of jazz's past, present and future."
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SV 145LP
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"Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late '70s and early '80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP -- a lost gem of Britian's '80s cassette culture and DIY bedroom aesthetics. Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks -- from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens. Harrison clearly wears his influences on his sleeve -- major debts are paid to Brian Eno, Robert Fripp and Manuel Göttsching -- yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities. This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago."
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SV 164LP
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Repressed. "'It's been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time, his debut LP. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka's poem 'It's Nation Time,' and the students at Vassar College didn't know what hit them. 'What time is it?' shouted the bandleader. 'C'mon, you can do better than that. What time is it?!' The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee's home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon's audience-less recording session, the band was ignited by McPhee's passion and his gorgeous post-Coltrane / post-Pharoah tenor. On 'Shakey Jake,' they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday. Originally released in 1971 on CjR, an imprint started expressly to document McPhee's music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut's first release. In fact, the first four records on this seminal Swiss label all featured McPhee. Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic's Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of 'Shakey Jake' and answer McPhee's call with the only appropriate response: It's NATION TIME.' --John Corbett."
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2LP
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SV 053LP
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"Originally released in 1979, Iceland is Richard Pinhas' third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon's hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward. Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas' delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes -- all vivid in texture and timbre, notwithstanding an undeniably chilling ambience. This first-time vinyl reissue includes 'Wintermusic,' an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas' excursions channel the season's stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments. Recommended for fans of Cluster, Mica Levi, and Fripp & Eno."
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SV 163LP
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"Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Originally released in 1981, In The Kingdom Of Dub remains one of the best early LPs in Scientist's long career. Produced by Roy Cousins at Channel One and featuring Sly and Robbie along with members of The Revolutionaries, The Aggrovators and The Soul Syndicate, the album offers a wide range of arresting rhythms, bold effect drops and exquisitely melodic bass. From '18 Drumalie Avenue Dub' (a reference to King Tubby's address) to 'Burning Sun Dub', Scientist lays down a veritable roadmap of dub -- filled with disintegrating echoes of satiny organ and textural guitar -- firmly cementing his place as one of the true innovators in Jamaican popular music."
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SV 146LP
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"Given The Fall's penchant for iconoclasm, it's no surprise that they decided to say goodbye to the '70s with a series of gigs at Northern England's gruffest halls. The band's formidable live show was met with even more derision and disorder than customary during these late '79 and early '80 performances, and they skillfully amplified such sentiments back at the crowd. Totale's Turns, The Fall's first live album, was released on Rough Trade just prior to their pivotal third album, 1980's Grotesque. 'The difference between you and us is that we have brains,' shouts Mark E. Smith to open Totale's Turns as the band breaks into the rollicking 'Fiery Jack,' their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon's splintering guitars, Steve Hanley's thunderous bass and Smith's combative sneer reverberate over 'Rowche Rumble,' 'Choc-Stock,' and 'Spectre Vs. Rector' more than any studio would ever allow. Totale's Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct's edition is the first time that Totale's Turns has been available on vinyl domestically. Liner notes by Brian Turner."
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SV 158LP
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"Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the 1960s, he was part of Japan's first improvisational music collective, Group Ongaku, and contributed to Fluxus in New York. In 1969, he founded the influential, experimental ensemble The Taj Mahal Travellers, and in 1975 he would release his first solo album, Catch-Wave. 'Mano-Dharma '74' features improvised violin drones and voice with various oscillators, echo delays and layered tape experiments that the artist made in New York in 1967. While Kosugi's continuously changing spectrum of sound shifts gradually (almost imperceptibly), photocell synthesizers create ultra-low frequencies to disturb the crestless sound waves. The brighter the light is, the harsher the noise becomes. Catch-Wave's second sidelong piece, 'Wave Code #E-1,' is a three-part performance for solo vocalist. As Kosugi describes in the liner notes (translated into English for this edition), the concept of onomatopoeia played an essential role in the type of sounds he generates with his voice, manipulated through customized electronic circuits and at times recalling Gregorian chant, throat singing and cosmic soundscapes. This first-time vinyl reissue is recommended for fans of Tony Conrad, Eliane Radigue and Fennesz."
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SV 147LP
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"The Rough Trade Singles collects The Fall's four singles recorded for this influential label in 1980 and 1983 -- How I Wrote 'Elastic Man' / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy -- none of which appeared on any of the band's studio LPs. With 7-inches being the era's vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums. 'Totally Wired' is often cited (and rightfully so) as The Fall's most infectious tune -- an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. 'How I Wrote 'Elastic Man'' is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on 'The Man Whose Head Expanded' almost suggests danceability, Mark E. Smith's idiosyncratic shriek on 'Kicker Conspiracy' pierces through the twin drumming of Paul Hanley and Karl Burns and the group's unpredictable/unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release. Superior Viaduct's edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner."
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SV 129LP
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"American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early 1970s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic. Canti E Vedute Del Giardino Magnetico, Curran's solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome's The Kitchen). Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer's alluring voice, converging in an immersive realm of Curran's inner / outer experiences. This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina."
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SV 103LP
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"Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It (1980) and his brilliant follow-up Plaster Falling (1981), Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the 'pop' concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic 1970s style. 'I pressed a single run of 500 copies,' Bender recounts. 'The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.' This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats (1979) and early Cabaret Voltaire. Liner notes by John Bender."
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SV 157LP
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"Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound. The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli/Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones. Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing. This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome."
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SV 118LP
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"Faust stand among the most influential creative forces to have emerged from Germany in the late '60s and early '70s. Along with Can, Agitation Free, Neu!, and others, Faust rejected the Anglo-American norms of rock 'n' roll to start a back-to-basics and uniquely Teutonic revolution in sound, later dubbed by the UK press with the semi-derogatory term 'krautrock.' Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segal writes in the liner notes, 'There's no consensus about which Faust album represents their zenith. But a survey of the group's fans would likely find the collage-heavy messterpiece The Faust Tapes (1973) triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler (1995) author Julian Cope has raved. Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band's best-known songs. 'Flashback Caruso,' with its delicate acoustic guitar and Rudolf Sosna's airy vocals, could easily have appeared on So Far (1972) or Faust IV (1973), while on 'J'ai Mal Aux Dents,' Jean-Hervé Peron's playful lyrics and this ecstatic, era-defining riff perfectly represent Faust's magical mischievousness. This first-time domestic release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley."
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SV 130LP
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2019 repress. "Of all the releases on Italy's legendary Cramps Records, Raul Lovisoni and Francesco Messina's seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio's breathtaking Motore Immobile, likewise graced with the maestro's gentle hand around the same time. Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it's rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space. Prati Bagnati Del Monte Analogo's meditative title track, inspired by René Daumal's surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti's impressionistic piano, while on Lovisoni's 'Hula Om' and 'Amon Ra,' solo harp, crystal glasses and Juri Camisasca's radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else. Superior Viaduct's edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh."
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SV 150LP
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"Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances -- shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, 'Andromeda's Suffering' and 'Sri Rama Ohnedaruth' (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer 'Going Home.' Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. This first-time vinyl reissue has been carefully remastered from the original master tapes."
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2LP
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SV 097LP
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Double LP version. "Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing -- pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City -- first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made -- and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974. This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes."
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SV 155LP
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"In 1984, Spacemen 3 made their first-ever recording session and sold a few cassettes at now-legendary, incendiary gigs. Growing out of the dual guitar attack of Jason Pierce and Pete Kember, the band's three-piece line up with Natty Brooker on drums offered a liturgical take on '60s psychedelia, bare-knuckle blues and stunning feedback. This early glimpse into the Spacemen 3 cosmos -- crafted by and for all the fucked-up children of this world -- captures the band's unorthodox approach to rock 'n' roll with nuance and power. While the raw atavism of 'Things'll Never Be The Same' and 'Walkin' With Jesus' would be scaled back considerably on later recordings, the one-chord propulsion of 'T.V. Catastrophe' and hardwired stomping of 'Fixing To Die' draw from a primitive force that served as the impetus for the group's formation. For All The Fucked-Up Children remains the perfect introduction to Spacemen 3. Not only do these demos reveal the auspicious beginnings of two teenagers born on the same day in Rugby, England, but also compelling clues that point toward the exploration and eventual refining of their signature sound."
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SV 097CD
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"Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing -- pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City -- first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made -- and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974. This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes."
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SV 154LP
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Housed in a gatefold sleeve with download code; includes the "legendary Northampton demos from 1986". "Amidst the swirl that is Spacemen 3's discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position -- one right at the nexus between their garage beginnings and their expansionist future. While much of this material is expanded upon via Sound Of Confusion and The Perfect Prescription, many devotees consider these urgent, minimally treated recordings as the prime document of Spacemen 3 at this stage. Taking Drugs To Make Music To Take Drugs To casts Spacemen 3 alongside the mid-80s cadre of UK front-line rockers, contributing a distinct variation of high pop shining through layered noisy guitars. Ultimately, this collection serves to exalt the strength of Spacemen 3's songwriting over the atmospherics and production assemblage that would permeate their later efforts. Be it the rave-up rendering of 'The Sound Of Confusion' or the churning take on 'Losing Touch With My Mind', these full band recordings capture the excited and inspirational spark of psychedelia rather than deep-dive ruminations on sonics and space."
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SV 134LP
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"On his fourth album, Clic, Franco Battiato moves further out -- into realms of pure and elemental approaches to sound -- to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only 'No U Turn' bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions. Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, 'Ethika Fon Ethica' -- a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950's). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre. Superior Viaduct presents the first-time domestic release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978."
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SV 151LP
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"Spacemen 3 began assembling their third album, 1988's Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions' first offering came in the form of 'Revolution,' a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3's crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock 'n' roll. An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like 'Suicide' (named after the notorious NYC band) and the mesmeric 'How Does It Feel?' catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter. Includes download card and new insert with liner notes by Marc Masters."
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LP
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SV 152LP
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Repressed. "1990's Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3's departing statement surely reveals a deep divide within the S3 camp -- each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other's songs -- Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock. Opening saga 'Big City (Everybody I Know Can Be Found Here)' marries ambient haze with narcotized indie rock, while 'I Love You' manages to arrange a beautiful flute alongside a defiantly throbbing bass track. 'Hypnotized,' a reimagined fuzz-pop hymn, would become the group's first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3's persistent sound, rooted in both aural expansion and phenomenal songwriting. Includes download card and new insert with liner notes by Marc Masters."
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7"
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SV 148EP
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RSD 2018 release. "No band captures the DIY punk ethos better than The Mekons. As one critic wrote of the group, 'Those who couldn't play tried to learn and those who could tried to forget.' Their debut EP first appeared on Fast Product in 1978, featuring the collective's original six-piece lineup and delivering three startlingly original songs -- 'Never Been In A Riot,' '32 Weeks' and 'Heart And Soul' -- that never appeared on any of their albums. Like fellow Leeds misfits Gang of Four and Delta 5, The Mekons form a rowdy and illuminating piece of the UK post-punk puzzle, fusing everyday political concerns with a no-holds-barred approach to performance. This first-time vinyl reissue and first-time domestic release comes with the original sleeve design. Limited edition clear vinyl."
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