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viewing 1 To 16 of 16 items
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CD
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AS 028CD
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Some of the earliest and purest harsh noise wall from the living legend Sam McKinlay. Originally self-released by The Rita in 1998, Living Dead Girl is an essential piece in vast catalog. Violent harsh onslaught with no let down for 30 straight minutes. For fans of extreme noise!
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CD
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ACM 049CD
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"Highlighting the artist's singular lyrical attack, Space Goretex is the first album combining all of Kool Keith's primary personas -- Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by Thetan's Chad L'Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly's right-hand man Uncle Tom Bowker also makes an appearance."
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LP
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ACM 049LP
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LP version. Includes insert and download. "Highlighting the artist's singular lyrical attack, Space Goretex is the first album combining all of Kool Keith's primary personas -- Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by Thetan's Chad L'Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly's right-hand man Uncle Tom Bowker also makes an appearance."
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LP
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ATS 065LP
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"Grammy-nominated Japanese folk singer Chitose Hajime remixed by Ryuichi Sakamoto, Ras G and Tim Hecker. Hajime has been performing the traditional island music called Amami Shima Uta since she was a teenager. Hailing from the southernmost island of Japan, Amami Oshima, grammy nominated vocalist Chitose Hajime last year released the album Amami Shima-Uta, named after the traditional music of her home island. Six pieces from the album have now been expertly given the remix treatment. Ryuichi Sakamoto, Tim Hecker, Dorian Concept and the late Ras G are just some of the artists tasked with remixing tracks from Amami Shima-Uta, which was released last year. Hajime-Uta Yugen -- Chitose Hajime Amami Shima-Uta Remix showcases genre-spanning interpretations on the traditional island folk music that Hajime has been performing since she was a teenager. Chihei Hatakeyama, Ryuichi Sakamoto and the late Ras G all deliver abstracted ambient cuts, filled with gorgeous, brooding textures and sparse arrangements. Tim Hecker goes for a more contemporary approach, the result being a heavily auto-tuned interpretation with plenty of glassy synths for good measure. Ninja Tune associate Dorian Concept, in his unique way bucks the trend and serves up a bouncy, skipping take, far removed from the approach of the others. Finally, Shintaro Sakamoto delivers a truly bizarre version that (in a brilliant way) sounds like very unnerving elevator music. A new song created by the fusion of different genres. The jacket is designed by Mitsuo Shinto as well as 'Genroku-Gen Chitose Amami Shima Collection', and the work of Japanese painter Ichimura Tanaka is used. 130 gram black vinyl in a single-pocket jacket."
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2LP
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AU 1017LP
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Repressed; double LP version. "Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."
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CD
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DTRS 011CD
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"Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA - Why Don't You Listen? Live at LACMA, 1998 -- H. Tapscott (pianist, conductor), M. Session (s., a. and t. sax), P. Ranelin (trombone), Alan Hines (double bass), L. Large (double bass), T. Ware (double bass), D. Dean (drums), N. Agindotan (congas), B. Madison (perc.), D. Trible (voc.), The Great Voice of UGMAA"
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CD
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GG 309CD
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"Robert Rental was a British pioneer of the post-punk DIY industrial electronic music scene in the United Kingdom. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s, and became involved with the local music scene. Robert Rental however released very little of his solo music, preferring to collaborate with Thomas Leer, as well as with Daniel Miller. The only solo recording from the 1970s is the 7" single 'Paralysis' first released on the homemade Regular Records, then re-released on Company Records in 1978. On an unassuming cassette, just labelled 'Robert Rental' in green Dymo tape, these demos have lain unheard for years amongst his family's treasured possessions, cared-for artefacts of a life cut short far too soon. These demos, which Robert recorded in his council flat at Macey House, Battersea in 1980, provide an enticing glimpse into his all-too-infrequent solo work. On most occasions, Robert worked with Thomas Leer, Daniel Miller or other collaborators. These are rough recordings, tape hiss still in evidence, but his creativity shines through the murk, like uncut diamonds. We know 2 of these tracks from their later re-recording for the Mute Records single 'Double Heart' late in 1980. Robert spoke to friends of his frustration at being unable to replicate his sound in a commercial studio -- it was these demos' sound that he wanted to recreate. Sometimes having only access to the most rudimentary of equipment can hone the creative talent into something sharper and more focused -- necessity is the mother of invention, indeed."
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CD
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GG 317CD
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"Bourbonese Qualk were an experimental music group from England who were active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work -- they ran their own record label, recording studio, tour organisation and music venue (the legendary 'Ambulance Station') -- they refused to integrate into the commercial music racket turning down publishing deals from major labels -- stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner's Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism -- which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force -- a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions -- their work was often ambiguous and directly critical of cynical power-politics of any colour -- often irritating members of the traditional 'organised left'. They never recorded in a 'proper' studio, choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual -- the unique raw sound of these recordings is the result of their choice -- which now, ironically, is in vogue due perhaps to the overwhelming obliquity of 'clean' audio digital production tools. If Bourbonese Qualk have a legacy, it is that 'culture' should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that 'culture' is a vital vehicle for debate and radical change. Hope was the group's second long player, released on their own Recloose Organisation label in 1984."
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GG 326CD
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"Jac Berrocal is a 1946-born musician, poet and film actor who came of age in the '70s Paris improv scene, where the boundaries between music, art and theatre were porous and begging to be breached. Inspired by bebop, chanson, free jazz, beat poetry, early rock 'n roll and myriad Eastern influences, and with an iconoclastic, anything-goes approach to instrumentation and technique that would later align him with post-punk sensibilities, Berrocal blazed an eccentric and unstoppable trail across the underground throughout the '70s and '80s, both solo and as part of the Catalogue group he co-founded. During this time his uproarious performances routinely wound up jazz and rock audiences alike, but earned the admiration of many musicians: Steven Stapleton invited him to perform on two Nurse With Wound albums, and other notable collaborators in his career include Sunny Murray, Lol Coxhill and James Chance. Now Berrocal has found the perfect foil in David Fenech and Vincent Epplay, two fearlessly inventive improvisers, composers and catalysts who create challenging, acutely modernist yet historically aware settings -- wrought out of synthesis, guitars, computer processing, field recordings and unorthodox percussions. Fenech cut his teeth in the mail-art scene of the early '90s, leading the Peu Importe collective in Grenoble. Epplay is a highly regarded sonic and visual artist with a particular interest in aleatory composition and autonomous pieces, concrète. Ice exposure is the sequel and companion piece to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed -- in the sense of rawer, more volatile, more vulnerable -- than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways."
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LP
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MCR 004O-LP
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Translucent orange vinyl version. "Dan Melchior has been creating his own unique take on lo-fi pop/garage rock and American roots music for close over two decades. He has recorded over 35 records as a solo performer, as a collaborator with Billy Childish and Graham Lambkin and more notably with his band Dan Melchior's Broke Revue. He has also released several records with his post Broke Revue band, Dan Melchior un Das Menace. Dan's latest LP comes courtesy of his newest group Dan Melchior Band. Outside In is eight tracks of distortion-drenched, fuzzed-up rhythm and blues, and rock and roll. While Dan's distinctive vocals and guitar playing are the cornerstone of the group's sound, the entire album is awash in a sea of unspooling riffs and hooks moving from heavy locked in bass grooves to distorted synth freakouts. In the words of Steve Lowenthal 'Dan Melchior is an anomaly in the modern music world, even for the underground. As one of the world's last truly great songwriters ... His music cannot be neatly partitioned into a narrow genre although one can detect elements of blues, vintage R&B, British psych pop and more recently brazen experimentalism.'"
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LP
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MOV 2603LP
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"The Deviants were an English rock group originally active in the late 1960s, and later as a project of the singer-songwriter and bandleader Mick Farren. The self-tiled third album was the beginning of the definite split between the band members. This record shows how they were still rocking in a wonderful mix between psychedelic, garage, blues, and rock. The overall vibe is amazing and it is a fascinating glimpse into the underground music of the late '60s. The album has aged quite well and is still a master of art. The Deviants is available as a limited edition of 1000 individually numbered copies on transparent blue vinyl. The package includes a replica of the very rare & sought after booklet."
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LP
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MOV 2613LP
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"In the early 1960's, when the Jamaican recording industry was still very much in its infancy, the local music scene was dominated by a mere handful of performers. Among these musical pioneers was Derrick Morgan. A year after the launch of the Islands Records label (1967), they released the Derrick Morgan And His Friends LP, which has since become a highly prized collector's item. Recorded at Jamaica's premiere recording studio, WIRL, and featuring the musicianship of leading session crews, the Carib Beats and Lyn Taitt & the Jets, the quality of the tracks remains consistently high. Morgan is one of Reggae's real unsung heroes and this compilation makes it all the more compelling."
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LP
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MOV 2630LP
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"This strong psychedelic trip record clearly shows how great Peter Green was at the time. The End Of The Game is a hallucinatory mix of jazz, fusion, and blues. The edited pieces of a long jam session are experimental and all instrumentals. Peter Green's wah-wah Gibson guitar is incredibly expressive, as is his band. It's a journey that Fleetwood Mac didn't want to make, but Green did it in a mind-blowing way. In 1967 Peter Green, Mick Fleetwood, and John McVie played in the legendary John Mayall & The Blues Breakers and were given free studio time during which they recorded five songs. Peter Green was so convinced of this band's musical prowess that he formed Fleetwood Mac on the spot and named it after the drummer & the bass player."
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LP
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MOV 2643LP
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"Sandy Coast was a Dutch rock band fronted by Hans Vermeulen, who achieved chart success in the '60s and '70s. In 1968 they released their second album From The Workshop, which includes their well-known songs 'Capital Punishment' and 'My Friend Abdullah'. As an experimental band they added funk, psychedelic and progressive edges to their rock sound. It was the first of many successful years for the band. Hans Vermeulen suddenly died in November 2017, leaving behind all these wonderful recordings. From The Workshop is available as a limited edition of 500 individually numbered copies on silver vinyl."
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LP
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MVD 3362LP
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"Japan's psychedelic troubadours return with a new album focusing on the folksier galaxy of their tripped-out universe. Highlighting new vocalist Jyonson Tsu, Acid Mothers Temple put the acid back in acid folk with this release! Upping the ante is Geoff Leigh (Henry Cow, Univers Zero) on all tracks! Limited edition of 800 copies on black vinyl."
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LP
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TMR 625LP
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"The formation of the Pathetx began in 1980 with singer, Mark Leavitt, and guitarist, Greg Kutcher. They had been playing together in their basements for a while and were looking to get out on stage in the punk clubs in and around Detroit. They assembled the rest of the group, drummer Ted Meek, guitarist happy Tom McHenry and 16-year-old bass player Mick Nasty, through newspaper ads, local 'punk walls' and music stores. The Pathetx took their inspiration from the West Coast punk scene that was happening at the time, bands like The Germs, Black Flag and Dead Kennedys, as opposed to most of the other punk bands that were kicking around Detroit who were looking to The Stooges and MC5 to show them the way. Nunzio's was the band's unofficial home away from home but they played every legendary punk club in the area: Bookies Club 870, Freezer Theater, Red Carpet, Windsor's Coronation Tavern... you name it, The Pathetx played it. They shared the stage with Detroit's first wave punk bands as well as the superstars of this new hardcore thing that was happening. They played the legendary Endless Summer Skatepark show with Necros, Negative Approach and Meatmen. Their live shows were filled with beer, blood and pogos. Third Man Records is proud to announce the first-ever release of The Pathetx - 1981. 45rpm."
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