|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 48 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
AGMR 036LP
|
$26.50
PREORDER
RELEASE DATE: 10/11/2019
Color vinyl version. The new album by Gazelle Twin exhumes England's rotten past and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist presents the notion that "there is horror in every idyll, and danger lurking beyond the 'quaint'." Four years in the making, this is her first major release since her widely acclaimed LP Unflesh (2014) and Kingdom Come (2017). As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation -- the harpsichord and the humble recorder, fed through myriad electronics -- to the compelling, ritualistic application of found sample-looping. Beyond Elizabeth Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin constructs an eccentric and commanding visual embodiment of all-of-the-above -- a costume fit for a court Jester of the 21st Century. The colors of Neo-Nationalism. Coke cans, and danger. "It" (not "she") hints at folkloric traditions with a footy mascot twist. The "Ye Olde" and "The Everyman" of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FUNDAMENT 003EP
|
$12.50
PREORDER
RELEASE DATE: 8/16/2019
Fundamentum 003 is the second various artist record release of the Berlin based label Atmophile Electronics -- four tracks by local musicians focusing on playful modular synthesis. Jessica Kert's composition isn't focused on dancefloors but instead entices the listener into a slowly progressing story. Label co-owner Sharad Sood delivers a song that has a powerful kick-bass structure wrapped with complex yet soothing melodic atmospheres. Kangding Ray offers a DJ-friendly track with a bass loaded punching groove and a friendly, sweet vibe. Naty Seres, label founder, drops a tune that's atmospheric but experiments with driving rhythms and darkly resonating sounds.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AUDIOMER 018LP
|
$22.00
PREORDER
RELEASE DATE: 10/11/2019
audioMER. announce the release of a new LP; Make Visible The Ghosts with music by Aki Onda and artwork by Paul Clipson. This album is the follow-up of Aki Onda's Cinemage project Lost City -- with Loren Connors and Alan Licht -- released on audioMER. in 2015 (AUDIOMER 013LP). On Make Visible The Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018. In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists -- known for their highly personal approach with Super 8, 16mm, cassette Walkman, and radio -- maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share. Onda and Clipson completed their collaboration work Make Visible The Ghosts -- a combination of vinyl LP of Onda's music and large-size collage artwork by Clipson -- a few months before Clipson's departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017. Onda notes: "The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
AX 082DC-EP
|
$14.00
PREORDER
RELEASE DATE: 8/30/2019
"Looking back in hindsight to the activity and accomplishments of Axis is with much pride -- to witness the relationship between the music and listener evolving to this point. The Director's Cut reissue project is about manicuring detail. It's about a rare opportunity to enhance what we've done so that the relationship strengthens for the long term." --Jeff Mills Chapter 4 comes on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BAO 073EP
|
$14.00
PREORDER
RELEASE DATE: 9/27/2019
Marco Faraone is back on Be As One, collabing with Hertz Collision in a well-crafted EP of house influenced techno in the shape of Elevate, backed up with a storming Alexander Kowalski remix for the title track.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 070LP
|
$29.00
PREORDER
RELEASE DATE: 10/11/2019
It seems KPM have long been fans of Smith & Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label's digital-only "Album Shorts" project. It makes perfect sense for Be With Records to take on the vinyl release of this instant library classic. But why is it called Tea With Holger? "Holger" is of course Holger Czukay and the whole LP is dedicated to Smith & Mudd's time spent with him and Ursa Major at Can's famous Inner Space Studio in Weilerswist, near Cologne. When not recording it seems they spent a great deal of time sat around being entertained by Holger's stories and drinking many cups of different sorts of tea. The album was recorded over several years in London, Margate, and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. They wanted to capture magical improvisational moments live and not do the work later on in editing. They describe the tracks collectively as "Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings". A gentle piano ushers in opening track "The Gardener" soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. "Innerspace" is a nod to Can's aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves. "Weilerswist" delivers more beautifully rolling piano and guitars over thumping cellos and building drums. The full, string-enhanced version of "Away From Me" is Smith & Mudd's preferred version, only made available here on this vinyl issue. Tribal tones, piano, and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop. Distant synths introduce sun-drenched guitars and uplifting strings in "Kölner Street", before a spacey Moog solo leads to a spellbinding, sci-fi drop. The album closes with "Tea With Holger". Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano. Cut by Pete Norman and pressed in the Netherlands by Record Industry. Comes in a classic KPM green sleeve complete. 140 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 061LP
|
$36.50
PREORDER
RELEASE DATE: 9/27/2019
LP version. 140 gram vinyl; gatefold sleeve; includes 16-page insert with photos and liner notes. For the first time since its inception in 1983, Steve Hiett's elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett's transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York. A career devotee of Brian Wilson's groundbreaking harmonies, Hiett shot The Beach Boys for Rolling Stone -- as well as The Doors, Miles Davis, and Jimi Hendrix -- while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire. In 1982, representatives from Tokyo's Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7" of original music into the back of the exhibition catalogue, Hiett laid down "Blue Beach - Welcome To Your Beach" in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers, and Steely Dan hired-gun, Elliot Randall. Once dispatched, there were requests for him to fly to Tokyo to record; it wasn't until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar, and retreated to his hotel room to start writing. Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders -- one of Japan's most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper, and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of "Roll Over Beethoven", Santo & Johnny's "Sleep Walk" and the 1967 Eddie Floyd soul hit, "Never Found A Girl". Produced in coordination between Be With Records, Efficient Space and the artist, this definitive reissue is restored from original masters; extensive liner notes penned by Mikey IQ Jones.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 062LP
|
$29.00
PREORDER
RELEASE DATE: 9/27/2019
LP version. 140 gram vinyl; includes four-page insert with photos and liner notes. Three emotional years in the making, Be With and Efficient Space present Steve Hiett's Girls In The Grass. Pressed alongside the long-awaited reissue of his one-shot masterpiece, Down On The Road By The Beach (BEWITH 001CD/061LP), these ten Balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist Paris Tapes (1986-1997). While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett's music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. Girls In The Grass reintroduces Hiett's languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine, and then utilize his arsenal of technology. He'd dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett's six-stringed touch. Hiett's guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly's ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. Remastered from the previously unreleased, original masters by Simon Francis. These private moments are adorned with Hiett's singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 047CS
|
Floating Frequencies/Intuitive Synthesis Volume I was originally released in 2006. This 2019 cassette edition was remastered by Eleh.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 048CS
|
Floating Frequencies/Intuitive Synthesis Volume II was originally released in 2007. 2019 tape remaster. Eleh's Floating Frequencies/Intuitive Synthesis Volume II requires dedicated and careful listening. "Black Mountain 1933" is a detailed account of the emerging frequencies resulting from the carefully crafted meeting of seven sine waves. "Pulsing Study Of 7 Sine Waves Part One & Two" focus on deep bass pulses being slowly modulated by frequencies well below the level of human hearing.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 049CS
|
Floating Frequencies/Intuitive Synthesis Volume III was originally released in 2008. This 2019 cassette edition was remastered by Eleh. Pure tone, pure sound, pure analog. Dedicated to Pauline Oliveros.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
SAUNA 050CS
|
Floating Frequencies/Intuitive Synthesis IV contains two new pieces from Eleh, each over 40 minutes long.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
CORTIZONA 008LP
|
$25.00
PREORDER
RELEASE DATE: 10/25/2019
"Imagination: that was the feeling and the starting point of the debut album Jurgen De Blonde recorded under the moniker Kohn in 1998. Surrounded by an old sampler, an analogue synthesizer, a cheap sequencer, acoustic and electric guitar, bass and an electret microphone he modulated and crafted his own personal parallel universe in his bedroom in Gent. A world where the sound of a skipping cd mutates in a shoegaze vibe, hunted mosquitoes are locked in a psycho-acoustic melancholy or ringing phone songs slides into a brutal grime beat echoing the beginning days of Belgian electronic body music. 21 years on this debut is remastered and released for the first time on vinyl. Recommended if you like early Autechre, Oval, vintage electronics, shoegazing beat, instrumental Death Grips, demented industrial, nostalgia futurica, derailed post rock or excellent music in general . . . This person who is 'Kohn' seems to have no interest in seeing the tiny blizzards and blue-phosphorescent stars that pop out of his own chemicals. The whole thing is for us to dissect and admire, I feel certain that Kohn is already onto something new. Probably something so much further out it only exists in the ether." --excerpt of the included liner notes by Brecht "Razen" Ameel
"The goal was to make music that was rhythmic but without obvious percussion and drum sounds, to sample anything and hear what was possible or how it would inspire me. No effects, I didn't want to use any effects like reverb or delay, except as part of the sound. I wanted the sound to be dry and direct. No washes of reverb or sounds drowning in echo. This was not supposed to be an ambient record. Only the last two tracks were allowed an exception to this. Sounds belong to the room they're played in. I didn't want them to be in a space before leaving the speakers. Electronic sounds have no original acoustic space nor are they enhanced by a resonant body before they enter the air through a loudspeaker. I wanted the electronic sounds to be raw in that aspect, no polish or fake space. This, the sound of bedroom production." --excerpt of the included liner notes by Jurgen De Blonde
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
NT 009EP
|
$14.00
PREORDER
RELEASE DATE: 9/27/2019
John Daly's amazing It's All Around You EP (NT 008EP, 2018) gets remixed by German virtuosos Losoul and Benjamin Brunn and the results are as diverse as stunning: while Benjamin Brunn morphs "One Four Tee" into subtly swinging electronica, Losoul expands "Stay Close" into an unbelievable 11-minute groove ride between house and techno, as tight as epic.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DTD 001EP
|
$12.50
PREORDER
RELEASE DATE: 9/13/2019
Powel always finds a way to thread natural elegance and tasteful patience in his productions. "Iblard" is sparse; its aquatic pads draw you into a warm place where discordant melodies swirl across dripping percussion. "The Grand Opening" named after (and also sampling) the Swedish band, adds live instrumentation to the deep house aesthetic with aplomb. "Aburaya" is next in both vocal, and instrumental form -- deeply Detroit-ian by design, the uplifting pads and keys made this life-affirming. On "Johannesburg", a sparse beat slowly transforming into a warm vibe with Rhodes-y keys, violins, and male vocal ad libs.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ELP 045LP
|
Iona Fortune crystallizes and convects enchanting thoughts on the legendary I Ching in a keenly awaited second volume of Tao of I, following from her resoundingly acclaimed 2017 debut for Optimo Music (OM 010LP), where lustrous synthetic subbass meets traditional Chinese strings with sublimely spirited and timeless effect Issued by Ecstatic as the second of eight albums by Iona exploring hexagrams of the I Ching, or "The Book of Changes" -- a 2,500-year-old Chinese divination text referenced extensively in religion, art, philosophy, psychoanalysis, science, and mathematics. Tao Of I Volume 2 sees the Glasgow-raised, Zurich-based artist refer to millennia of human experience through an electro-acoustic prism of Synthi AKS, guzheng, and Gamelan, newly expanded with erhu, kim, yanqin, zhong, and bawu. The wider scope of her palette allows a greater detail of airy calligraphic expression to her multi-dimensional microcosmos, channeling a wondrous energy in a fluidly melodic narration of mystic ideas made musically tangible. In eight parts Iona acts as conduit for extraordinary, invisible, and arcane forces. Inspired by the I Ching's fundamental principles, her music resonates with a visceral and cosmic conception of human essence, infusing minimalist frameworks with finely tempered but lush emotive cues that bring to life the I Ching's conviction that "music has the power to ease tension within the heart and to loosen the grip of obscure emotions." Iona's music most beautifully manifests this idea in concisely exacting forms and to contemplative ends, creating a slow, serene and harmonious music that coolly commands relaxed states of reception, best for mulling over life, and stuff. At once as light as a fleeting thought but permanent as an organism passing on its code, the music conjures mindsets comparable to Coil at their uncanniest, the post-erotica 4th world sensations generated by Jon Hassell, or the dark energy expressed in David Lynch films and their soundtracks. Most crucially Iona achieves this through a synthesis of self-exploration and instrumental actualization, employing an unusual composition strategy of inner cultivation and empathic performance to divine and realize a spellbinding, penetrative otherness. RIYL: Coil, Laraaji, Jon Hassell, David Lynch & Angelo Badalamenti. Mastered and cut by Dubplates & Mastering.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DOME 003LP
|
With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July, 1980), Dome 2 (October, 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker, August 2011. New artwork by Dave Coppenhall. Includes download card.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
EMEGO 266LP
|
"Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualization was catalyzed by Dino Spiluttini's discovering his mother's preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death. Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt's compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini's tendency, in spite of heavy and dynamic passages, to minimize tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs. Track titles throughout Heaven conjure intense emotional conflicts, especially those arising from experiences of embodiment. Touch isolation is a term for the toxic masculine stigma against platonic touch between men. If such a reference on an album preoccupied with death and afterlife raises the question of whether Spiluttini considers any touch -- let alone platonic -- to be possible in Heaven, the title 'Flesh Angel' perhaps answers it. As with 'Body at War' and 'Weakened Centurion', such a title positions the agitation of its music among ongoing struggles with body acceptance. Meanwhile, 'Rainbow Bridge' recalls the 1980s prose poem promising an eternal reunion in death with one's beloved lost pets. In context, these various indices seem to capture the yearning speculation that, as the nexuses of experience, bodies are not discarded in death; on the contrary, they achieve a state of perfection. Heaven revolves within dramatic and ever-changing vignettes. As church music, it lacks real communal participation or fidelity to hymnal text. Instead, it must come to terms with negation and eternity as dependable threats to generational and spatial distance, to personal struggles with earthly embodiment and to the anxious, hyperactive navigation of identity in late modernity." --Edward Trethowan Front photos and layout by Dino Spiluttini. Recorded, produced and mixed by Dino Spiluttini. Mastered by Rashad Becker.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
K7S 369LP
|
$25.50
PREORDER
RELEASE DATE: 10/11/2019
False Idols -- the record label launched by Tricky in 2013 -- has today announced a fresh compilation album, featuring a selection of mostly unsigned artists from around the world, curated by the label boss himself. The tracks featured showcase Tricky's A&R expertise and vision for the label -- allowing a platform and a context for unheard artists who span diverse genres but effortlessly come together into a unique and compelling album collection. Tricky lends his production expertise to tracks including "The Moth & The Flame" by Bob Vylan -- the politically focused, London based punk and grime duo, as well as an elegant and streamlined re-edit of "Lucien" from Young Magic, the Brooklyn-based group who have toured the US with Tricky in recent years. The two tracks offer a sample of the diversity and versatility of the album. Deeper into the selection, Tricky has also contributed a remix for Mercury-nominated Bristol punk band, IDLES, and co-production for the likes of Namibian producer Sean K, bewitching US singer-songwriter Breanna Barbara -- as well as a new track performed with his enchanting touring vocalist Marta. Add to this new cuts and original material from the likes of Saul Williams, and new artists such as KLOXII, and Chikaya. Also features Dio Russo, Descartes A Kant, TENNIN, and Tricky. Includes download card with four bonus tracks featuring: Suzy Sleepzzz, Rodolphe Burger, Serve The Servants, and Leeroy Thornhill.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 100CD
|
2005 release. Including much sampled classics, previously deleted tracks and five exclusives never before released, Far Out 100 will appeal both to newcomers to Brazilian music and Far Out Recordings, as well as fans of the label. Far Out 100 is the centenary release from Brazilian label Far Out Recordings, featuring 16 tracks including five unreleased tracks from Joyce, Azymuth, Marcos Valle, Grupo Batuque and Democustico. The Offworld track (featuring Marcos Valle), Grupo Batuque and Roc Hunter's remix of Azymuth are all unreleased and only available on this compilation. Also included are previously deleted and highly sought after Far Out Recordings gems including: Nina Miranda and Chris Franck's "Agua", Aricia Mess's "Super Legal", Celia Vaz and APE's "Espada De Prata" and Global Communication's remix of Azymuth's "Space Carnival" - all stone cold classics and previously deleted. Far Out 100 also features tracks from Vertente and Sabrina Malheiros that were only previously available on 12" vinyl as well as a few classics from Joyce, Azymuth and Troubleman for good measure. 2005 sees Far Out Recordings reach another milestone with this their 100th release. With 46 albums released and 54 12" singles, Far Out Recordings is one of the most respected and prolific purveyors of Brazilian music in the world with an unequivocal roster of artists as represented on this CD. Also features: Nina Miranda, Venom and 4 Hero.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FIGURE X012EP
|
$14.50
PREORDER
RELEASE DATE: 10/11/2019
Following up her 2018 EP Which One Of Us Is Me on Figure (FIGURE 093EP, 2018), Lady Starlight once again tames her hardware for some wild, live and direct cuts. These four tracks of unprocessed, unadulterated machine techno are some of the freshest analog output available these days, with acidic undertones tinging the record in a slightly old school flavor. Starlight still leads way in a highly condensed and to the point way of producing, where simplicity rules and basic elements carry all the tension necessary. Clever arrangement and little filter tweaks are all that's needed for maximum rave energy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FUCK 006EP
|
$14.50
PREORDER
RELEASE DATE: 9/27/2019
When Smallpeople went touring Australia for the third time in 2016, the label played a gig in Brisbane and had an amazing time hanging with James Hilan, a young gun from the local scene -- a heavy vinyl collector and bad-ass DJ. He took the label to the Wheel of Brisbane for their first vape experience ever, and after some good laughs, they became friends. When James sent over some of his deep yet pumping tracks a few years later, Smallpeople were blown away. Now they're given a home on Fuck Reality. Typography and full cover artwork by Stefan Marx.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODUNK 059LP
|
$26.50
PREORDER
RELEASE DATE: 8/2/2019
LP version. Featuring Nicholas Bullen (founder member of Napalm Death and Scorn) and John Pickering (founder member of Doom and Sore Throat), Birmingham-based Rainbow Grave channel the blank despair of negative punk through layers of distorted psychedelic damage: dirty guitars, freeform pedal abuse, and effected vocals coagulate around cyclic bass and drum rhythms in repetitive and minimal structures. After a performance at Fat Out Fest in Salford in April 2017, God Unknown Records approached the group to record a split 7" single (GODUNK 043EP). Released in July 2018 as part of volume three of the God Unknown Singles Series, Rainbow Grave's Death Pyramid is a crawling mantric blend of heavy bass, psychedelic guitars, robotic vocals, and hard drums described as "deeply hewn heaviness" (Shindig) and "congruent with the great scum rock purveyors of the late '80s" (The Wire). Following the reception of the single, God Unknown invited Rainbow Grave to continue the relationship with the release of the "Sex Threat/You Are Nowhere" 7" single in November 2018. This was given Single of the Week by John Doran at The Quietus.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HG 1903LP
|
$23.50
PREORDER
RELEASE DATE: 9/27/2019
Remo Seeland's Hollow Body is a suspenseful exploration of the interaction between sound environments and individual perception. It was sparked by an intense physical experience the Swiss artist had during a residency in New York City. "The subway became a sort of 'atonal symphony' for me, provoking a full-body experience with the rattling of the overcrowded, airless trains," the Hallow Ground founder explains. "However, while the old subway is not exactly beloved by everyone, it also represented for me the melancholic meta-level of the moloch above it." The album, his first under his given name, makes this disparity audible over six tracks in which the visceral and the personal become at once abstract and universal. Based on field recordings from both urban and rural environments, Hollow Body aims to mirror another of Seeland's psycho-sonic encounters. "In the highlands of Iceland, I noticed my pulse lowering and my breathing decelerating," he says. "Just shortly after that, a single insect's buzzing seemed so loud to me that I became even more aware of the silence surrounding me." Silence, perception, order, and the curious dialectics of the outside world and the inner workings of the human psyche are the central questions of Hollow Body. Recorded in New York, Reykjavík, and Zurich, Hollow Body draws extensively on field recordings and sees Seeland collaborating with Hallow Ground-affiliated artists Norman Westberg (Swans, guitar on "Body Innovation" and "Hollow City") and Reinier van Houdt (Current 93, e-bowed guitar on "Hollow City" and Rhodes organ on "Pulse Points Green"), as well as the Swiss-based US-American musician Steve Fors (Deaf At Sea, trombone on "Second Coming"). The diversity of the source material is mirrored in the stylistic richness Seeland lays out with this LP. From the lush, bass-heavy drones of the opener "Body Innovation", to the downbeat-driven "Second Coming" and, finally, the haunting organ sounds of "Night Within", Hollow Body forms a holistic entity that integrates idiosyncratic compositions into a coherent narrative.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
HEIST 040EP
|
$14.50
PREORDER
RELEASE DATE: 10/11/2019
Makèz make their debut on Heist Recordings. Makèz (formed by Jan-Willem Mulder and Kees van't Klooster) are a duo from Amsterdam, where they both studied music production and sound design. Different Planets EP sees the duo navigate between disco flavored house, dreamy electronics and old school Chicago influences. The remix is by none other than Belfast based DJ and founder of Body Fusion: Bobby Analog.
|
viewing 1 To 25 of 48 items
Next >>
|
|