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12"
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2DIY4 022EP
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Cassini is Allan Shotter's first solo EP. In such slow epicness begins the ethereal "Intro", like the first ray of sun that has ever climbed over the mountaintops to kiss the valley. As time goes by, you're taken from orbis to urbs, to the timeless here and now, into each individual's minds ("Los"). A fast-paced, clockwork machine music suddenly lights up and becomes highly emotional and nuanced electronica ("Cassini"); oddball jungle noises quiet down and arrange orchestrally, creating a subtle cinematic score ("Akihabara"); the shy ballad turns into a magnificent drama ("British Exit").
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LP
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ALGA 040-2LP
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2019 repress. Alga Marghen very proudly presents a remastered version of the complete documentation of Eliane Radigue sound installations from 1969-1970, including the broad tectonic vibrations of "Omnht," the celestial voices of "Usral," the massive chant of "Stress Osaka," and more -- the works of this artist's feedback period finally revealed. It is amazing that Radigue could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by Pierre Henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. Eliane previously worked for Henry at the Studio d'Essai of the R.T.F. from 1955 to 1957, after having met Pierre Schaeffer almost by chance, who invited her to learn the techniques of musique concrète. Created 10 years after her Studio d'Essai experience, the feedback works of Eliane Radigue immediately take a new direction from the explorations of musique concrète. Her adventure intuitively goes towards flux, towards contemplative stasis -- a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. It is as if her musical work was in some way a martial art -- as if she meditated for 10 years before striking the first blow, with impressive precision. This is the context in which Eliane composed "Omnht" in 1970 for the architectonic spaces of the visual artist Tania Mouraud titled "One More Night," presented at the Gallery of the Rive Gauche in Paris; "Usral" (the title comes from a phonetic compression of ultrasounds slowed-down, in French "ultra-sons ralentis") is one of the first works by Eliane Radigue to be given in public as a sound environment for a sculpture by Marc Halpern in the Salon des Artistes Décorateurs at the Grand Palais of Paris in 1969; "Stress-Osaka" was conceived when the artist was invited to create a sonic environment for the International Fair in Osaka in 1970. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light -- a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music, a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. Includes a 16-page LP-size booklet with original photos, scores and liner notes.
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ALGA 041LP
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2019 repress. Alga Marghen very proudly presents a remastered version of Vice-Versa, Etc..., an LP originally included in the first 400 copies of Eliane Radigue's Feedback Works 2LP. Vice-Versa, Etc... was originally a small handmade box, signed and numbered and released on the occasion of a show at Lara Vincy's gallery in 1970. The box contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum. This LP presents two versions done by Emmanuel Hoelterbach following the indications of Eliane Radigue to the letter, respecting her composition methods. There is no doubt that Eliane Radigue's vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. When she moved from feedback sounds to the ARP synthesizer, she naturally continued the same music -- a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. One could say that somehow it's the very texture of the sounds, which leads the form of her compositions. At the same time, this approach favors an intense sensuality in the listening.
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LP
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ALGA 046LP
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2019 repress. Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein. In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with "4'33". Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences. This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Gatefold, iconic sleeve.
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3CD BOX
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NMN 160CD
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It's hard to overstate the importance of Philip Corner. For more than half a century he has been a cornerstone of the American musical avant-garde. Once a student of Otto Leuning, Henry Cowell, Olivier Messiaen, and Dorothy Taubman. A founding member of Fluxus, Corner made waves fast, creating a body of singular work, both on his own and within ensembles like Gamelan Son of Lion and Tone Roads, founded with Malcolm Goldstein and James Tenney, which has cut its way across the decades. Among Corner's most fascinating works are those created between 1962 and 1964, during the period when he was resident composer at the Judson Dance Theatre, one the great occurrences in the emergence of avant-garde dance, movement, Happenings, and performance art. Even today, it stands among the most important examples of collaborate create exchange in the history the American arts. Alga Marghen present a three-CD box, issued in early 2000s by and now out of print, gathering much of the work created during these important years in Corner's career, signed by the composer himself. Alga Marghen's triple box gathers On Tape From the Judson Years, and More from The Judson Years (Early 60s) Instrumental and Vocal Works Volumes 1 and 2, bringing you to heart of Philip Corner's brilliant practice and mind. Across the first disc Corner's tape works -- complex textures and sonority coming to life. The second disc is of an entirely different sort, featuring works created with a great many of Corner's closest collaborators and friends. Recorded at Judson, 1965, the disc features a knock-out cast of Ayo, David Behrman, Philip Corner, Malcolm Goldstein, Dick Higgins, Joe Jones, Alison Knowles, Jackson Mac Low, Charlotte Moorman, Nam June Paik, and Chieko Shiomi, and more. The third disc takes the ear further afield, with "Everything Max Has" (1964), a performance of Max Neuhaus solo recorded at the ONCE Festival (1965), captures the composer and percussionist taking down an overwhelming amount of equipment. It also includes Big Trombone (1963), with Jim Fulkerson improvising over tape collage, "Homage to Revere" (1962) a work for an ensemble of copper-bottom kitchen utensils, and "Punkt" (1961) for an ensemble of staccato sounds, and a number of other astounding works from the era. As a totality, Alga Marghen's three-CD set of Corner's years spent at the Judson Theatre, are a mind-boggling entry into an overwhelmingly exciting moment in time. Edition of 200, signed and numbered.
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2CD
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ARB 167CD
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Live unpublished and newly restored broadcasts. Artur Schnabel lived as a concert pianist, composer, teacher and editor, activities that reveal a complete musician whose genius enlightened chamber music, under-represented in studio sessions. His live duo recital with Joseph Szigeti attests to the heights he achieved in real life, away from the studio atmosphere that he loathed. A legendary Beethoven player whose teacher studied with Beethoven's assistant, Schnabel's Schubert was equally important and three otherwise unrecorded works emerge here with his only known performance of Mendelssohn, recorded at a festival in Edinburgh. Liner notes open a trail of letters discovered inside the basement of Schnabel villa in 2018 in which Szigeti and Schnabel's son engage in an espionage caper to liberate this legendary recital; Excerpts from letters to a mistress indicate Schnabel's reactions to post-War Europe's attempts for normalcy after the fascists had destroyed culture, with scathing accounts of how box-office legends fell miserably below moral standards. Features works by Ludwig van Beethoven, Wolfgang Amadeus Mozart, Felix Mendelssohn, and Franz Schubert. Includes a lecture by Szigeti on Beethoven's Sonatas for Violin & Piano. Recorded between 1942-1962.
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CD
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AX 053CD
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Commemorating the 50th anniversary of the Moon landing (July 20, 2019), Axis Records present the release of the album by Jeff Mills on his interpretations of Earth's Moon, The Area Of Influence. Jeff Mills on the release:"There are influences of the Moon we can detect, measure and document as scientific facts. If these are perceived as rational explanations, then it should raise questions about the possibility of other unseen mental and metaphysical connections humans have, not just with the Moon but with all other celestial bodies in and outside this Solar System. On the flipside, as we recognize that our Sun gives us light and a lifespan, what does an even greater force in the Cosmos, perhaps the darkness (or absence of anything) affects us. If we look at the Moon as a component in a vast configuration of integral connected parts, then an intuitive sense might lead us to a wider understanding about how deeply our relationship lies. This album and the imagination that helped to produce it should be considered as a proposition with open-endedness and no foreseeable conclusion. It is a chemistry of facts and feelings based on then, now and forever."
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2x12"
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AX 081LP
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2x12" version. Commemorating the 50th anniversary of the Moon landing (July 20, 2019), Axis Records present the release of the album by Jeff Mills on his interpretations of Earth's Moon, The Area Of Influence. Jeff Mills on the release:"There are influences of the Moon we can detect, measure and document as scientific facts. If these are perceived as rational explanations, then it should raise questions about the possibility of other unseen mental and metaphysical connections humans have, not just with the Moon but with all other celestial bodies in and outside this Solar System. On the flipside, as we recognize that our Sun gives us light and a lifespan, what does an even greater force in the Cosmos, perhaps the darkness (or absence of anything) affects us. If we look at the Moon as a component in a vast configuration of integral connected parts, then an intuitive sense might lead us to a wider understanding about how deeply our relationship lies. This album and the imagination that helped to produce it should be considered as a proposition with open-endedness and no foreseeable conclusion. It is a chemistry of facts and feelings based on then, now and forever."
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CD
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BW 029CD
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Backwards present the first Massimo Magrini solo work, Vrachnas. Massimo Magrini is well known for his main project Bad Sector. Hypnagogic hallucinations: vivid perceptual experiences that typically occur at sleep onset. Hypnopompic hallucinations are similar experiences but occurring at awakening. Sleep paralysis: a state when, during awakening or falling asleep, a person is aware but unable to move or speak. It may include hypnagogic hallucinations, such as shadowy figures entering the room while the subject is paralyzed. During the paralysis the sleeper may hear imagined sounds like humming, buzzing noises, voices and whispers. Three-panel ecopack with artwork by Mastereaster.
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2LP
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BF 007LP
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Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows 2018's Selected Early Keyboard Works and coincides with Blank Forms' publication of Poësy Matters and Other Matters, a two-volume collection of Hennix's writing. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. "The Pointed Time Bus"). Frustrated with the jazz musicians' inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. In 1976, The Deontic Miracle performed Hennix's original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer's Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group's first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, "Music of Auspicious Clouds" and "Waves of the Blue Sea" are expansive drone improvisations, breathing with the pulsating lull of cicadas' organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called "the most rejected band ever formed in Sweden" continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.
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12"
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BP 054EP
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Blueprint returns for its first release of 2019 with a new EP from the gifted mind of label boss, James Ruskin. Reality Broadcast Off consists of three abundantly immersive cuts from this UK techno pioneer. The EP opens with its searing title track and an ever-developing kaleidoscope of percussion. "We Are Everywhere" follows, blending metallic sounds with a warmer groove, before the compressed acidity of "Disaffection", which was recently premiered on Marcel Dettmann's Residency show on BBC Radio 1, rounds off this three-pronged attack.
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12"
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BNR 189EP
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There's a notable progression in A Convenient Excuse Pt. 2 with Cardopusher appearing to be a producer in fast-forward stride. If Pt. 1 (BNR 183EP) was a survey of the darker side of '80s industrial and EBM, Pt. 2 takes a more focused look at the sort of "haunted Italo". Four of the five tracks are up-tempo and club ready this time, driven by vicious arpeggios and bit crushed drums. Skinny Puppy atmospherics still make their appearance, and it is still music to play a tabletop game of Shadownrun to.
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LP
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BB 029LP
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2019 repress of Bureau B's 2009 reissue. LP version. Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.
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LP
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BRED 747LP
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LP version. "Pere Ubu unveil their new album, The Long Goodbye, nearly two years after their previous record for Cherry Red, 20 Years In A Montana Missile Silo. Named after Raymond Chandler's novel, The Long Goodbye is the end of a road. Front man David Thomas has long talked of their journey to Satisfied City: 'This wraps up every song and story that Pere Ubu has been telling in different ways for the past forty plus years.' This Pere Ubu album sounds like no other. It boasts a large expanse of synths due to Thomas writing and arranging the songs alone with his collection of drum machines, synthesizers and a melodeon before sending to the other musicians to complete this unique fusion of techno meets trad rock meets... the avant garage. The CD edition boasts a live bonus disc, recorded in December 2018. Former member Chris Cutler rejoined David Thomas, Gagarin and Keith Moliné to play the entire album to a packed theatre in Montreuil, Paris. The show also included the seminal Pere Ubu classic 'Heart Of Darkness' and Neil Young's 'Running Dry'."
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2CD
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CDBRED 747CD
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"Pere Ubu unveil their new album, The Long Goodbye, nearly two years after their previous record for Cherry Red, 20 Years In A Montana Missile Silo. Named after Raymond Chandler's novel, The Long Goodbye is the end of a road. Front man David Thomas has long talked of their journey to Satisfied City: 'This wraps up every song and story that Pere Ubu has been telling in different ways for the past forty plus years.' This Pere Ubu album sounds like no other. It boasts a large expanse of synths due to Thomas writing and arranging the songs alone with his collection of drum machines, synthesizers and a melodeon before sending to the other musicians to complete this unique fusion of techno meets trad rock meets... the avant garage. The CD edition boasts a live bonus disc, recorded in December 2018. Former member Chris Cutler rejoined David Thomas, Gagarin and Keith Moliné to play the entire album to a packed theatre in Montreuil, Paris. The show also included the seminal Pere Ubu classic 'Heart Of Darkness' and Neil Young's 'Running Dry'."
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LP
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CS 9217HLP
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2019 repress; 180 gram reissue of the first album of Delta blues legend Son House on the Columbia label, originally released in 1965. Canned Heat founding member Al Wilson appears. Includes the 9+ minute closing track "Levee Camp Moan."
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LP
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P 751492HLP
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2019 repress; 180 gram exact repro reissue, originally released in 1969. "The World of Harry Partch collects three of his best short pieces. 'Daphne of the Dunes' (1967) is a side-long update of 'Windsong' written for dance. The melodic segments are given more emphasis than usual for a Partch piece, and harmonically this is one of his best with arpeggiated glides/cries of the Harmonic Canons evoking our sympathies. Meter changes almost measure by measure, with one section in 31/16 meter; another (polymetric) section consists of 4/4-7/4 over 4/8-7/8! Needless to say, while being very physical, Partch's music isn't something you can easily tap your foot to. What's most important is that it works. Partch was not one to introduce musical complexity merely for its own sake, another factor that separated him from his contemporaries. Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've hard (save perhaps the inhumanly fast player piano pieces of Conlon Nancarrow!). This is characteristic of most of Partch's works, though I think 'Daphne' is one of the most successful and exhilarating. 'Barstow -- Eight Hitchhiker Inscriptions from a Highway Railing at Barstow, California' was composed in 1941 as part of 'The Wayward.' It offers such statements as 'Go to 538 East Lemon Avenue for an easy handout' and 'Looking for millionaire wife...' This charismatic piece is successful due to the contrasting of Partch's intoning voice with others in the ensemble and to increased instrumental emphasis. Last is 'Castor and Pollux' in a more modern performance than From the Music of Harry Partch, with greater vigor and fidelity. The World of Harry Partch is an excellent introduction to his works that comes highly recommended." -- Surface Noise
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3CD/DVD/Book
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DTD 053CD
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Reprinted! 2019 Grammy award winner: Best Historical Album and Best Liner Notes! This watershed release represents the life's work of William Ferris, an audio recordist, filmmaker, folklorist, and teacher with an unwavering commitment to establish and to expand the study of the American South. William Ferris was born in Vicksburg, Mississippi in 1942. Growing up on a working farm, Ferris began at a young age documenting the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served as powerful tools in institutions of higher learning for decades. Dust-to-Digital present these films and recordings. The label's hope is that the enjoyment and educational value that has been received by Ferris's students over the years will be transmitted to listeners around the world and further the understanding of Southern culture. Voices of Mississippi: Artists and Musicians Documented by William Ferris includes: a 120-page hardcover book in full color edited by William Ferris Writings by Scott Barretta, David Evans, and Tom Rankin; three CDs -- two of the CDs feature blues and gospel recordings (1966-1978), and the final CD features interviews and storytelling (1968-1994); and one DVD featuring documentary films (1972-1980). Transcriptions and annotations are provided for each track. Comes in a cigar box.
In addition to being a groundbreaking documentarian of the American South, William Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture (1989) and is the author of multiple books. In 1991, Rolling Stone magazine named him among the top ten professors in the United States.
The recordings feature James "Son Ford" Thomas, Lovey Williams, Wallace "Pine-Top" Johnson, Maudie Shirley, and Jasper Love, Scott Dunbar, Mississippi Fred McDowell, Louis Dotson, Sonny Boy Watson, Sam Myers, Tom Dumas, Unidentified Musician with Mississippi Fred McDowell, Walter Lee Hood, Wash Heron and "Big" Jack Johnson, James Hughes, Leland Musician, Inmates at Parchman Farm, George Lee "Sun Bud" Spears, James "Son Ford" Thomas with Sonny Boy Watson, Mary and Amanda Gordon, The Southland Hummingbirds, Lovey Williams, Reverend Smith and Family, Liddle Hines, Providence Missionary Baptist Church, Church of God in Christ, Fannie Bell Chapman, Mary Alice and Alan Mcgowan, Reverend Ott and Family, Rose Hill Church, Lovey Williams and Family, Fannie Bell Chapman and Family, Reverend Isaac Thomas and Rose Hill Church, Barry Hannah, Alice Walker, Alex Haley, Ray Lum, Bobby Rush, Joe "Skeet" Skillet, Joe Cooper, Shelby "Poppa Jazz" Brown, B.B. King, Allen Ginsberg, James "Son Ford" Thomas, and Bill Ferris, Robert Penn Warren, Pecolia Warner, Victor Bobb, and Pete Seeger.
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LP
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EAR 013LP
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"'In October 2018 we took several recordings in and around Eddie Prévost's home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie's own take on Locke that he offered in our correspondences: 'Scholars of Locke's philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such 'mixing' is a persuasive description of a creative act. But the theory is more worthy of a social dimension.' As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its 'metamusical' relationship with the untempered sounds of the external environment. Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike 'protomusical' behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development. Ross Lambert provided a few words alongside his cover drawing entitled 'The Metamusician': "The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.' -Daniel Kordik & Edward Lucas, March 2019"
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CD
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EB 137CD
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"We were inspired by that brilliant release Darker Than Blue: Soul From Jamdown (on Blood & Fire Records from Manchester in co-operation with PK in London) and felt compelled to perform this beautiful gem in a dub version..."
In spring 2014, when the Senior Allstars were asked by the Hamburg-based dub label Echo Beach to record their interpretation of an existing release (the original was released in 2001), everyone involved assumed that the results would be good. What absolutely no one expected was that the album would be so incredibly "conspirational" and simply bursting with fresh ideas. The album that Soul From Dubdown - Darker Than Blue is based on is the compilation Darker Than Blue: Soul From Jamdown, which was released in 2001 on Blood & Fire Records. More than ten years later, the mind behind the Echo Beach label, Nicolai Beverungen, had a vision of taking the next, the third step along this path. "From the beginning it was clear to me that I wanted an instrumental band to do the job, and the venerable Senior Allstars, the leading lights in their class, were my top pick", says Beverungen. The results are more than breath-taking; the songs drip from the speaker membranes like honey, bringing in the sun, warmth and happiness, very much in keeping with the original songs -- although the lyrics may have been written with other things in mind. The dub remake presented by The Senior Allstars breaks all previous dimensions and conventions set by the history and spirit of this legendary album. The quartet creates an original, collective, improvised and organic live dub that is in the tradition of the original songs and with new versions that fully deserve to be mentioned in the same breath as the originals. 2019 -- the next step to break the peak and quality of the exciting album -- was making it into a vocal album and call it Soul From Dubdown - Darker Than Blue. The former was quite easy. They hired the Juno winner (the Canadian music prize and pendant to the American Grammy) from 2017 Ammoye, with an amazing voice, who was born in Jamaica and raised in Toronto, Canada. A brilliant and crisp album."
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Cassette
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FTR 359CS
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"Herewith, the first expression of the newest project helmed by Brooklyn polymath, Curtis Godino (known for his work with light shows and visual art as much as for his most excellent musical combo, Worthless [FTR 417, 2019]). Mellotron is often Curtis' sonic weapon of choice, and his expressively modal use of the instrument makes Justin Hayward sound like, well... Justin Hayward. In Curtis' hands, this ungainly behemoth of a keyboard retains a massive sort of prog pompery that is equal parts majesty and idiocy. The instrumental sections build weirdly ornate sky castles, which are larded with presumably heisted spoken sections, or cloud-like vocals, often resembling Ummagumma-era Floyd (1969) in all its wheezy glory. There are also drums on a few tracks, employing a light spacey approach that's fully in keeping with the proceedings. You can hear some guitar squirreled away in the mix as well. The mellotron is such a huge strange presence, however, it really shapes things, making me recall (almost too vividly) dark winter nights in prep school dorms filled with In the Court of the Crimson King (1969), bad acid, and In Search of the Lost Chord (1968). For all that blunder-bussing, Nothing To Semble sometimes offers a very intimate vibe as well (even though the lyrics are not fully penetrable). Which makes it perfect listening for those who like using psychotropics, or at least like thinking about using psychotropics. Either way, count me in." --Byron Coley, 2019 Edition of 250.
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FTR 395LP
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"Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are vague, but that's trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names 'East Was,' 'Texas Was,' 'The Shreeve,' 'Evil Was,' 'What Was,' 'Superman's Problem,' and 'Reflections.' The 'Was Tetrology' was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). 'The Shreeve' is another take of a track originally recorded for the timeless Volume Two LP. 'Reflections' and 'Superman's Problem' probably date to a Clouds & Water session in early '79. Heard together they suggest an entire parallel universe of guitar history. Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there's still one more to come!" --Byron Coley, 2019 Edition of 400.
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FTR 429LP
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"In my count, this is the 25th album by Amherst's Idea Fire Company. And it a marvel of creative whackery that unfolds its charms like a glamorous stripper doing a matinee show at a well-lit coal mine. Many key auxiliary members have passed through IFCO's ranks (Dr. Steve, Jessi Leigh Swenson, Meira O'Reilly, Franz de Waard, Graham Lambkin, Matt Krefting, etc.), but the core of the unit has always been Karla Borecky (catcher, piano) and Scott Foust (first base, trumpet/synth). On The Light they are joined by bassist, Mike Popovich (a long-time Foust colluder), and the results are an album of unqualified beauty. Karla's piano is the central focus here, employing a simple (almost Satie-like) approach to melody, with a physical touch reminiscent of Chris Abrahams' work with Necks. She combines mystery and familiarity with uncanny ease. Scott's trumpet work has kinda come into its own here as well, sounding like Franz Koglmann mocking Chet Baker. His synth playing also has its own distinct atmospheric quality. Sometimes it's like a distant fog horn guiding brine shrimp to safety, at others more like someone trying to make wood sculptures with a band saw. Popovich's bass playing uses an equally sneaky environmental approach, often appearing to be an immobile object that suddenly shifts its posture in a way that is contextually startling. Scott Foust has been one of the leading lights of the Western Mass experimental scene for many long years. That we have only done one record with him thus far -- Dead Girls Party (FTR 279LP, 2018), an overlooked masterpiece -- is mostly due to the fact that we keep very different hours. How nice to sync up for this one." --Byron Coley, 2019 Edition of 250.
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FTR 452LP
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"Great debut album by the new trio led by Detroit/Boston guitar legend Roger Miller. Roger has been going at it since he was a tiny baby, with a recording career that stretches back to Sproton Layer in 1970. He is still probably best known for his work with Mission of Burma, but cognoscenti wallow in his work with the original Destroy All Monsters, F.U.K., Empool, the Farmers, his crazy solo stuff, and recent jamming with M2. With Trinary System, Roger manages to get wild trio aktion going that touches on all phases of his magnificent trajectory. Things start off in classic Burma mode, but everything feels a bit more straightforward than it did with that rascally outfit. There is a garageyness and almost pre-punk feel to some of the playing here that has been a footnote to some Burma tunes, but is allowed full rein with Trinary System. The drummer, Larry Dersch, was half of the electric piano/drums duo, Binary System, in the '90s. His collaborations with Roger continued into later versions of Birdsongs of the Mesozoic (Boston's premier prog band for over 20 years). Bass and synth are handled by Andrew Willis (an ex-pat from the Louisville sub-underground). Together, they create a sound employing a powerful retro-futurist vibe. At times it's almost like hearing a mid '70s power trio having a collective dream about the post-punk future. But there's a distinct Motor City feel to the proceedings as well. The music is just perfect for barreling down the highway (as I tested on a recent drive to Pittsburgh) with thick, chunky riffs, odd vocals harmonies, and proletarian lyrics, all tied together with the kind of whizzing guitar parts you didn't think anyone but J Mascis made anymore. There are also miasmic psych flows, which the trio tends to emphasize a bit more in live concert, but you should just buy the thing & figure it out yourself. Pleasure guaranteed." --Byron Coley, 2019
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FTR 465LP
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"Vinylization of a self-released cassette issued earlier this year by our favorite Virginia-based guitar player. Witness Tree is a brilliant follow-up to Perry's eponymous debut LP (FTR 376LP, 2018), and expands upon the form-abstractions he first displayed there. Mr. Perry has a firm and solid touch to his string wrangling, but unlike many of his contemporaries, he doesn't seem to feel compelled to resolve all the melodic questions he raises. Perry often stops in a place he finds interesting, repeating rhythmic figures while trying out variations on the note/chord sequence that stopped him in the first place. It's a goddamn fascinating approach and allows him to explore textual aspects of the acoustic guitar that are not investigated often enough. In a certain sense, Perry's playing feels akin to that of Jon Collin's, since both guitarists appear to acknowledge the American Primitive School, while approaching its compositional orthodoxy with an attitude that substitutes experimental tendencies for blues-base thinking. But the way they resolve these themes is quite different. Perry's slower pacing and precise string selection eschews the aleatory for a kind of mindfulness that is as invigorating as I usually find randomness. A deep and lovely dig into the outer edges of acoustic guitar rambling." --Byron Coley, 2019 Edition of 400; includes download slip. 45rpm.
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