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LP
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FOX 026LP
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Repressed. The musician and spiritual seeker Alice Coltrane was much more than just John Coltrane's second wife. One of the few harpists to feature prominently in jazz, she was also a renowned pianist and composer and her interest in spiritual matters greatly helped steer her husband deeper into Krishna consciousness, which had significant bearing on his music, most notably evident on A Love Supreme (1965). This mesmerizing performance, held at Carnegie Hall four years after John's untimely passing as part of a benefit event for Swami Satchidananda's Integral Yoga Institute, comprised a stunning and largely improvised rendition of Coltrane's "Africa," with Alice's subtle piano and harp expressions excellently framed by the wailing saxes of Pharaoh Sanders and Archie Shepp, Cecil McBee and Jimmy Garrison trading non-standard bass lines, a dual drum onslaught from Clifford Jarvis and Ed Blackwell, along with members of the Institute on harmonium and tamboura.
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2LP
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AU 1002LP
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2020 repress. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."
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BNSD 047LP
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Beacon Sound presents the debut album by Portland duo Methods Body, a co-release with New Amsterdam. "Dark twin, meet your light twin." That's how musicians and best friends John Niekrasz and Luke Wyland were first introduced to each other in 2007. It's an apt description of the duality and synergy of their musical project Methods Body. Using keys/electronics and percussion, the two maximize the duo configuration to create music at once primal and futuristic. Overflowing with polyrhythms and layers of microtonal melodies, the two suites on Methods Body's self-titled debut conjure a sense of traveling through space and time to a prismatic, post-human landscape. No strangers to instrumental innovation, Niekrasz and Wyland are known for their previous acclaimed projects: Wyland's art-pop ensemble AU, and Niekrasz's virtuosic experimental duo Why I Must Be Careful. Having played together in improvisational contexts for more than a decade, they committed to Methods Body in 2016 by spending five days a week in their Portland, Oregon, studio composing and interrogating themselves about their usefulness as artists in "combating the distressing geopolitical climate." Working with the same therapist, Wyland and Niekrasz began to focus on their personal relationship "as a model of creative love through nurturant masculinity." Their vision for Methods Body crystallized as they journeyed to remote landscapes to record together. First, to a historic saloon in the Mojave desert -- Pioneertown's Red Dog Saloon -- then, to a 12' by 16' cabin in the primeval Oregon forest where they slept on the floor beneath their instruments. Methods Body creates instrumental music with language at its core. Niekrasz and Wyland's contrasting relationships with language allow a real alchemy to emerge from the tension between them. Language is foundational for Niekrasz, a poet from the Iowa Writers' Workshop who studies the cross-cultural traditions of verbally-inspired drumming. He uses syllabic notation to form intricate rhythmical patterns that bloom into wild tangentry. As a stutterer, Wyland's approach to music is informed by his idiosyncratic relationship with language. The cadences of broken speech and use of technology as an aid in communication are fundamental to his musical vocabulary. Featured on track "Claimed Events Pt. 2 - Overheard", vocalist Holland Andrews (Like A Villain) reveals the linguistic heart of this music with a virtuosic call to action. RIYL: Terry Riley, Dawn Of Midi, Konono No 1, Silver Apples, Aphex Twin, Battles, Four Tet, Kelly Moran.
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BF 014LP
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Customer's Copy is the debut LP of contorted cosmic jazz and eccentric minimal electronics by Exotic Sin. The duo of Naima Karlsson and Kenichi Iwasa first came together for a performance celebrating the art and music of Karlsson's grandparents, Moki and Don Cherry, before continuing as an independent unit that still incorporates some of the Cherrys's instruments as well as their synergetic integration of music with artistic practice. Preferring the stark contrast of analog/digital, acoustic/electric, and natural/unnatural sounds, Karlsson contributes synthesizers in addition to piano, celesta, and bells, while Iwasa collides anachronistic '90s Yamaha keyboard and guitaret with contrabass recorder, drums, kalimba, and three of Don Cherry's instruments: one of his trumpets as well as two of his "zen saxophones", handmade woodwinds appending reed mouthpieces to plastic plumbing parts, also called Don's kettles after their high-pitched sound. With such timbral juxtapositions, the spirit of Exotic Sin is reminiscent of a number of leftfield jazz-meets-electronics '70s duos from Don Cherry's maverick collaborations with Jon Appleton and Terry Riley to Anthony Braxton's work with Richard Teitelbaum, İlhan Mimaroğlu and Freddie Hubbard's Sing Me a Song of Songmy (1971), and Muhal Richard Abrams's electronic works. On album opener "Dot 2 Dot", Karlsson's measured, monastic piano sets an elegiac stage for kettle bends and absurdist electro-percussive filtering courtesy of Iwasa before a flourish of cascading ebonies and ivories together with restorative circular trumpet motifs bring the sidelong piece to a majestic resolution. Named after the character from Ridley Scott's 1989 film Black Rain, the schizosphere of "Charlie Vincent" interfaces ominous, dystopian synthesizer with permuted organ swells before album closer "Canis Minor" sets gentle sail for a distant bed of lonesome stars. A visual artist as well as an archivist and coordinator for the Cherry estate, Karlsson continues to learn and study Don's compositions and approach to piano with her uncles Eagle-Eye and David, who were taught by Don himself, and his use of short piano compositions as loose scaffoldings for improvisation is prevalent across the record's three otherworldly unfurlings. Improvisor and multidisciplinary artist Kenichi Iwasa is also known for his legendary Krautrock Karaoke night, his contribution to Beatrice Dillon's 2020 album Workaround, and collaborations with visual artists and musicians from Linder Sterling to members of Can, Neu!, Faust, Cluster, and Wire. Recorded and mixed, with additional alto flute, woodwinds, and contrabass recorder by Robbie Lee.
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BF 015LP
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LP version. Axis/Another Revolvable Thing 1 is released alongside Axis/Another Revolvable Thing 2 (BF 016LP). Axis/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling "non-section music" after leaping beyond the confines of his prior descriptor "real jazz". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious "gradually projection" and explosively virulent "mass projection" concepts across six pieces, titled "Fragments I-VI". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis/Another Revolvable Thing 1 (BF 015LP) and Axis/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order.
Masayuki "Jojo" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's "Free Form Guitar" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.
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LP
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BF 016LP
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LP version. Axis/Another Revolvable Thing 2 is released alongside Axis/Another Revolvable Thing 1 (BF 015LP). Axis/Another Revolvable Thing is the second installment of Blank Forms' archival reissues of the music of Japan's eternal revolutionary Masayuki Takayanagi, following April Is The Cruellest Month (BF 008CD/LP), a 1975 studio record by his New Direction Unit. Comprised of recordings of a September 5, 1975 concert by the New Direction Unit at Yasuda Seimei Hall in Tokyo's Shinjuku district, the two-part set showcases Takayanagi in deep pursuit of what he began calling "non-section music" after leaping beyond the confines of his prior descriptor "real jazz". The quartet of Takayanagi (guitar), Kenji Mori (reeds), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) deftly explores the twin poles of Takayanagi's spacious "gradually projection" and explosively virulent "mass projection" concepts across six pieces, titled "Fragments I-VI". Includes original liner notes by Japanese free jazz critic Teruto Soejima (newly translated for this edition). Originally issued in two individual LP volumes in rearranged order; the two separate LP reissues, Axis/Another Revolvable Thing 1 (BF 015LP) and Axis/Another Revolvable Thing 2 (BF 016LP), keep this rearranged order.
Masayuki "Jojo" Takayanagi (1932-1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late '60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late '50s, Takayanagi had his mind blown by the Chicago Transit Authority's "Free Form Guitar" in 1969 and promptly turned his back on the jazz scene. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction for the Arts (later New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide.
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2CD
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BFR 015CD
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"In the wake of defunct Palm Springs originators Kyuss, musicians worldwide coalesced to craft their own visions for the desert rock sound. Standing foremost among them was Lowrider, whose debut, Ode To Io, became the blueprint countless others would follow. Following their return in 2020 with new album Refractions, we proudly reissue their seminal chronicle of rumbling desert-heaviness!"
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SAUNA 052CS
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NYZ on the recording: "The Buchla 100 experimental session begins with a documentary recording of the noise generators. Something I find endlessly fascinating is listening to different noise sources, so I always feel compelled to record them. The remaining tracks are sequenced by my MANIAC Cellular Automata sequencer. First up are three little sequenced ditties that also incorporate the ARP 2600 modular interconnected to the Buchla 100. After this is an ultra-minimal setup using MANIAC and the mind-numbingly rare Waveform Synthesizer Model 132 module. As far as I'm aware this is the only one of these modules that Buchla ever built! A truly unique module where you have 32 pots that setup the output waveform, and an FM input as well. The last two tracks are a Cellular Automata / FM crossmod oscillator stereo setup, lots of crunchy high pitched stuff with some deep bass notes thrown in too :]" Recorded at Center for Contemporary Music, Mills College, Oakland, CA, USA on April 5th, 2015. Mixed and arranged at Noyzelab, NSW, Australia between July 2015 & February 2016.
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SAUNA 054CS
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"Her new work Flood has extraordinary depth and dimension." --Kevin Press, Badd Press
"Her music is all-immersive, it is all around you and especially when played a bit louder offers a whole sonic depth that you wouldn't notice otherwise. This is the field where field recordings, drone and musique concrete meet up. This is a very fine follow-up to her debut." --Vital Weekly
"An innovative sound that oscillates like the bridge between robots and future tech. And just as the cover depicts, this is a look to the skies, beyond the distant clouds, to other galactic bodies. Yes, this is space age music for a new generation. Breathtaking." --TJ Norris, Toneshift
"Jana Irmert has created a metaphoric world of billowing harmonic clouds, gently crackling sounds and abstracted field recordings. All three parts of the album are marked by perpetual subtle shifts, memory turning into an imperfect compass: You can walk through the music in all directions without ever passing the same point twice. Inside this world of concrete sounds and pure abstractions, of organic timbres and alien noises, all sense of perspective is lost: What is far can seem close, tiny sounds suddenly appear enormous. In a sense, Flood is about the desire for change, a sensation that fills us both with anticipation and anxiety. That is why this album is more than just a sonic novel, and why there is more than one story to it -- just enter the flood and allow the current to carry you far, far away." --Tobias Fischer
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SAUNA 055CS
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Alexandre Bazin is a member of the Groupe de Recherches Musicales, better known as the GRM, for which he writes documentaries about music for the radio. Due to his background as a classical and jazz pianist, Alexandre Bazin is also passionate about instrumental music by the likes of Steve Reich, Erik Satie, Brian Eno. This album attempts to synthesize these two worlds that are so dear to the composer, either in symbiosis or in opposition to one another with simple and loose melodies as its main theme. The use of analog synthesizers and acoustic sounds are at the heart of the composer's creative process. "Oceans" was written for marimba, piano, and Buchla Music Easel, in four movements around the theme of the ocean. Simple and loose melodies, played on piano and Buchla. They rotate around the marimba which evokes breathing and the rhythm of the swell. Suspended melodies reminiscent of generative music although in this case they are an improvisation around a simple motif. The piece was performed by Alexandre Bazin on piano, Buchla Music Easel and marimba, as well as Gabriel Benlolo on marimba, a member of the Radio France Philharmonic Orchestra. "The Deserter": Not escaping a situation to flee but to be physically freed from it. The response manifests itself through the breath, heartbeat and the act of running. Beyond a moral necessity, it becomes a physical necessity that cannot be contained. Your natural defenses provoke this sudden urge. Your body cannot be contained through inaction. Our bodies in action escape all control, in order to free ourselves from the time that is limited to us. A piece for percussion, electric organ, and Buchla Music Easel. "Dream-Land": A piece that borrows its titles from Edgar Allan Poe's poem. In the spirit of the GRM's acousmatic works, such as "L'Enfer" by Bernard Parmegiani or "Suite pour Edgar Poe" by Guy Reibel. Alexandre Bazin, a member of the GRM, wrote music inspired by this mysterious, perhaps imaginary land, at the edge of the human spirit, where a lonesome traveler walks among the shadows, advancing through harsh and hostile nature.
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SAUNA 057CS
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Three introspective compositions full of contemplative, emotional ambiguity and time stopping focus. Side B contains the full program backwards. ELEH's Home Age series was composed and recorded over a period of five years and it reflects a search for color, form, connection, and growth. Recorded 2015-2019. Mixed March-May 2020. Cassette edition of 100.
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LP
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CGC 051LP
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LP version. 180 gram vinyl; includes download. Cugate Classics presents a reissue of the 2001 release Works For Choir by Arvo Pärt, one of the most important and influential composers of our time. Arvo Pärt (born 1935 in Paide, Estonia) doesn't need to be introduced to anyone who has the slightest interest in classical music, and his audience reaches far beyond the regular attendants of symphony halls. After first serial compositions, "Credo" (1968) was a turning point in Pärt's life and work, being the first piece carrying a religious title and expressing a creative crisis that Pärt answered by lesser compositions and studying medieval and Renaissance music in search for a new musical language. In 1976, Pärt returned with "Für Alina" and introduced his new (and self-developed) style that should become his trademark sound which made him the famous and honored composer he is now: the so-called tintinnabuli. In 1984, after the Estonian composer and his family emigrated from the USSR and settled in Germany, the album Tabula Rasa opened the next important chapter in PÄRT's career: the ever continuing close relation to Manfred Eicher and his ECM label where many of the composer's works have been released since. Works For Choir presents several compositions for choir from the period from 1989 to 1991, recorded in Vilnius with the award winning Vilnius Municipal Choir Jauna Muzika under the artistic direction of Vaclovas Augustinas. The Vilnius Municipal Choir Jauna Muzika choir was founded in 1989 by the conductor and composer Remigijus Merkelys and long-time director Algimantas Gurevičius and has since won several prizes, among others six Grand Prix in 16 international choral competitions around the world, and in 1993 it was awarded with the highest prize, the Grand Prix Europeo, in a competition organized by the International Federation of Choral Music. Remastered by Helmut Erler at Dubplates & Mastering, Berlin.
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2CD
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ESPDISK 5037CD
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This is Mr. Mat Walerian's fourth album as a leader, all on ESP-Disk'. He also appears in the Matthew Shipp Quartet on the album Sonic Fiction (ESPDISK 5018CD, 2018). Credits: Mat Walerian - alto saxophone, bass clarinet, soprano clarinet, flute; Matthew Shipp - piano; William Parker - double bass, shakuhachi; Hamid Drake - drums, percussion. Recorded May 21, 2018 at Parkwest Studios, Brooklyn, New York. Produced by Steve Holtje.
"Walerian is alternately introspective and fiery, and the passion of Jungle at times recalls David S. Ware's groups . . . They both soothe the soul and make the heart race . . . Walerian has obviously been studying Ware, Coltrane and their ilk . . . he's on his way to becoming a free-jazz force." --Steve Greenlee on the project Jungle, JazzTimes
"... jaunty and joyous, encapsulating the sound of two superior musicians for whom age and cultural differences mean nothing . . . At times they sound like youthful renegades breaking down barriers with the power of their sound. During others, they come across as wise elders..." -- Michael Roberts on The Uppercut, JAZZIZ
"Mat Walerian is one of those rare musicians whose approach seems to span several eras of jazz history, sometimes even within the same solo..." -- Mark Keresman on the project Jungle, The New York City Jazz Record
"Sort of the new sheriffs in town . . . The difficult task is to choose the highlights. There are so many..." --Mark Corroto on the project Jungle, All About Jazz
"The groans of Walerian's alto against the maelstrom of Drake's drums and Shipp's piano are like listening to a hurricane strain against the walls of an old wooden house . . . He evokes the mastery of John Coltrane in the epic 'One For,' as Shipp plays his most Tyner-esque block chords . . . Walerian interjects flute phrases that sound like tropical birds." --John Swenson, Stereophile
"Mr. Walerian's tone on alto sax is immensely mature sounding and closer to the way some of the elder statesmen of tenor play, lush and sublime . . . The music has a regal elegance, not too dark yet consistently enchanting. A true consistency of excellence!" --Bruce Lee Gallanter on the project The Uppercut, Downtown Music Gallery
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LP
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FTR 541LP
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"Minneapolis guitarist, Matt Sowell, is another of the many great players we were first introduced to at the Thousand Incarnations of the Rose festival in Takoma Park, MD. Matt played a richly dark and brooding set at Rhizome, with a style deeply indebted to the American Primitive tradition. His set had the raw strength of Fred Gerlach, the precision of Peter Lang, showed a country/blues influence that seemed to reference Fahey, and possessed the raga-meets-ragtime eclecticism of Jack Rose. We were blown away. Later, talking to Matt while we watched Mark Fosson play in the bandshell, we talked about what he's up to. He's a family guy, a committed union member, and an all-around nice fellow besides being a killer guitarist. He said he'd get in touch when he had something together that might make a good LP, and we are proud to present the results. Organize or Die is both a call to collectivism as a way to fight crony capitalism, as well as a damn lovely record. Matt's technique and compositions continue to blend raw power, delicate note placement, and wild imagination into a unique alloy. While it's easy to close your eyes, lean back and know you are listening to a record in the great Takoma tradition, the borrowings here are solely of tone and mood. The specific approach is all Matt's. This allows his work to be familiar and all new at once. In this sense, he's akin to every new generation of finger picking guitarists who have found something special in the syncretic blend of traditional and modern that Fahey head-birthed. But Matt's playing is illuminated by a very special kind of light. And we think you are gonna dig it like crazy." --Byron Coley, 2020
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PIC. DISC
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IMPREC 483LP
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Maja S. K. Ratkje is at the forefront of the musical avant-garde. Her music is bold, original and it is meant for sharing. At its heart lies Ratkje's own voice, an open door to her individual musicianship and a constant tool for realigning her work with natural expressions and human truths. On Mara, layers of vocals overlap and layer their way through the reverberant woodwork of an early baroque parish in Austria. At times slow and beautiful, other times frantic and sinister, this live recording is full of depth, passion and life. Live-recording at Pfarrkirche, Lockenhaus at Kammermusikfest Lockenhaus July 9, 2018. Recorded and mixed by Peter Laenger and Andreas Ruge from Tritonus Musikproduktion. Mastered by Maja S. K. Ratkje at Svartskog 2019. All music created and performed in real-time by Maja S. K. Ratkje, except sung parts from the Norwegian traditional Hanen sten på stabburshella and the American traditional Mining for Gold. Maja is using voice processing software created by Øyvind Brandtsegg. Picture disc; edition of 300.
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CD
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ISP 2202CD
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One of the most influential bands in the last five decades, Kraftwerk virtually established the blueprint, the source code even for electronic music. Founded by classically trained musicians Ralf Hütter and Florian Schneider-Esleban in Dusseldorf in 1970, the band has informed and inspired a diverse range of genres and artists including David Bowie, Björk, Afrika Bambaataa, and Joy Division. This early live performance, in Soest, Germany in Winter 1970, broadcast on WDR-TV displays the band in superb form. Arguably, the future of electronic music, trance, techno, ambient -- started right here. CD version comes in four-panel digipack; includes eight-page, full-color booklet with background notes and images.
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2LP
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KEPLARREV 001LP
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Repressed! Multila was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the Huone and Ranta 12" EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone". 20 years after its original release as a full-length CD album (Chain Reaction), these timeless recordings of modern electronic music are now finally available for the first time as a double-vinyl edition. The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the '90s and '00s, as well as new recordings by momentous electronic and ambient artists. Drawings by Kaisa Kemikoski; Layout by Marco Ciceri. Remaster by Rashad Becker and vinyl cut by Kassian Troyer at Dubplates & Mastering. Includes download code.
"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localization are captured within tiny fragments of time and then within one's mind space. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." --Vladislav Delay (2000)
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CD
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GG 338CD
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"The show on this album was performed in Olomouc, Czech Republic, at the Moravian Theatre, in the year 2010. The Ceasar gallery organized a retrospective exhibition called 'The Residents Residence' in Olomouc. The exhibition contained art, constumes, masks and other artefacts of The Residents and Uz Jsme Doma were asked if they could create their own versions of The Residents' songs, and play them to support the exhibition. As Randy, the Residents' singer, was invited for the opening and staying in Olomouc for a couple of days, it was a good opportunity to have him on one stage with Uz Jsme Doma. 13 songs were chosen, partly by Miroslav Wanek and partly by Randy. Miroslav turned the original arrangements into the UJD sound with full respect to The Residents style and mood. He was able to use his own experience with this kind of work - in 1981, during the communist regime in Czechoslovakia, he discovered recordings of The Residents and covered them with the punk band he was then involved with. The Residents are an American art collective best known for their avant-garde music and multimedia works. Since their first official release, Meet the Residents in 1974, the group has released over sixty albums, numerous music videos and short films, three CD-ROM projects, and ten DVDs. They have undertaken seven major world tours and scored multiple films. Uz Jsme Doma are a progressive rock band from Prague, Czech Republic, who originally formed in the Czech border town Teplice in 1985. Cited musical influences include The Residents, The Damned, Pere Ubu, Uriah Heep and the Rock in Opposition movement. The band has released seven studio albums, two live albums, a best-of package and a DVD containing live footage and a documentary film about the history of the band, which discusses its artistic significance and chronicles its dozens of lineup changes in its long career."
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LIB 5037CD
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"The third and last of the Flamin' Groovies late-'70s albums for Sire, Jumpin' in the Night storms out of the gate with the title song, a top-shelf rocker that brings the muscle of the Flamingo-era lineup of the Groovies to the more style-conscious British Invasion sonics of Cyril Jordan's version. Though Jumpin' in the Night never rocks that hard or that well again, it does sound decidedly tighter and tougher than 1978's Flamin' Groovies Now, and guitarist Mike Wilhelm, a new addition to the Now lineup, is much better integrated into their wall of guitars, with the Groovies sounding more solid than they did a year before. But while Jumpin' in the Night finds the Flamin' Groovies sounding better than ever, the material unfortunately lets them down. It's no wonder why the Flamin' Groovies loved the Byrds -- both were American bands who fell in love with the sounds of British rock and crafted their own variation on the style -- but three Byrds covers on this album is about two too many (especially given how clunky David Wright's drumming sounds on '5D'), and though having the Groovies tackle 'Absolutely Sweet Marie' and 'Please Please Me' sounds good on paper, the audible results are a bit underwhelming. (On the other hand, their cover of 'Werewolves of London' is better than anyone had a right to expect.) The production and engineering by Roger Bechirian is crisp and flattering to the guitars, but lacks the resonance of Dave Edmunds' more layered approach on Shake Some Action and Now. A great band, the Flamin' Groovies often seemed to have a hard time reconciling their best qualities with the record-making process, and Jumpin' in the Night is probably the best example of this dilemma, though it has more than enough worthwhile moments to compensate."
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COLOR 010LP
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"The highly anticipated sixth volume of the well-received electronic compilation series of tracks drawn from the vaults of the Color Tapes label. As with the other volumes you can find great examples of cold wave, minimal wave, and synth electronics made by obscure British bands in the 1980s such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord, and Mystery Plane. As with all of the other volumes, this is a co-production between Lion Productions and Color Tapes."
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LP
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DRUG 019LP
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"These rare recordings were recorded as part of the legendary Prescription label subscription-only album series in the late 1990s that resulted in the Astral Disaster album. Halloween 1998: Coil were invited to record at Sun Dial's studios beneath the London Bridge Hop Exchange -- a studio first known as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtors prison, with three underground levels -- and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon's help, Coil developed a number of tracks, some of which resulted in the Astral Disaster album. But there were other tracks recorded during those Halloween sessions, including the recordings on this very limited LP release, Astral Disaster Sessions Un/finished Music Vol. 2. The album includes all previously unissued mixes and alternative versions, and includes 'The Mothership,' which was the first version of a track which was later remade and re-named during the sessions as'The Mothership and the Fatherland.'"
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CD
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MET 1224CD
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"Since its formation in 1984, KMFDM has been regarded as one of the driving forces in industrial/rock. But the band has always incorporated elements of many musical styles to create its trademark ultra heavy beat. 2019's Paradise proved this, exhibiting the heaviest infusion of funk & dub sounds the since such landmark albums as 1988's UAIOE and 1990's Naïve. Now KMFDM takes things to the next level with In Dub, reinterpreting some of the group's best known songs of its 35 year career into a blistering display of chilled out grooves and spaced out atmospheres. The world is held in the tightening grip of sociopolitical upheaval, so it's fitting that Sascha 'Käpt'n K' Konietzko should reach back to KMFDM's earliest roots in dub to present a fresh take on what it truly means to 'Rip the System!' 'Everything old is new again,' sings Lucia Cifarelli on 'Real Dub Thing,' perfectly defining the power of IN DUB. Mosh pit anthems reimagined into meditative grooves, laden with horns, organs, and slithering bass lines as on 'A Dub Against War,' 'Hau Dub,' and the opening 'Dub Light.' Andrew 'Ocelot' Lindsley's incendiary rapping on 'K?M?F Dub' and Cifarelli's vicious, vivacious vocals shine 'Superhero Dub,' 'Amnesia Dub,' and especially on the in-your-face electrified sonic assault of 'Rebelz Dub.' Andee Blacksugar's guitar textures and angular solos give In Dub an extra dash of audio intrigue, making this KMFDM's most unique outing. With a long history of addressing political issues and encouraging social revolution In Dub proves that KMFDM remains as powerful a voice for rebellion as ever. Angry, hopeful, tranquil, energetic, In Dub is no mere remix album -- this is KMFDM looking to its original inspirations, making a pure, honest statement that the world no longer need be a paradise for assholes. 'Dub & reggae music has been one of the greatest & most constant musical influence to me, I have been nurturing the idea of making this album for so many years, & here we go!' --Sascha K."
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LP
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MIA 046LP
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The Log and the Leeway follows a six-year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical. Early in the process, Bram was struck by the word/concept of a "Leeway": the gradual departure from an intended course due to external influences. Following a boyish fascination for explorers' travel journals, logbooks, and the farfetched corners of the world, he could not have foreseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time, it was an enlightenment and a necessary influence for him to realize the initial idea and finish this album, started over half a decade before. The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram's musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects, and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else's clothes: you may not know how you got here, but whatever is happening seems to very directly involve you. Note from Erik K Skodvin (Miasmah): "All the sounds, fabrics, instrumentation, and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations..." Cover painting by John Lurie. 16-page booklet of illustrations/collagés by Walter Dhoogh and Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O. Edition of 200; includes download code.
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2LP
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MOABIT 022LP
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2020 repress. January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke's Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen's O.U.T. project, and Susanne Kuhnke completed the line-up. Malaria! started touring intensively soon after the release of their 12", commencing with a concert with New Order at Brussel's Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, and Einstürzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence, and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin. While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin -- How Do You Like My New Dog? 7" (1981), Weisses Wasser 12" (1982), New York Passage 12" (1982), Revisited cassette (1983), and the Emotion album (1982). At the BBC studios in London, Maida Vale, Malaria! recorded a John Peel Session. Malaria! took a break in 1984 -- Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form Matador with Beate Bartel, but not before they recorded their mini-album, Beat The Distance (1985). In 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12". Elation was followed by Cheerio (1993), which again was recorded in Berlin. Chicks on Speed did their own version of Malaria!'s song, "Kaltes Klares Wasser" in 2001, and the remix went into the German Top 10. Malaria! has been an instrumental part of Berlin music history, as recently presented at the "Zurück zum Beton" at Düsseldorf's Kunstakademie, Kunsthalle Wien "Punk!", "Geniale Dilletanten" Goethe Institut, and in B-Movie.
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OTCR 005CD
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Siti Of Unguja tells the story of pioneering women, of the "golden voice" of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad. On The Corner Records teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti Of Unguja has a transformative atmosphere, brimming with romance, passion and protest. Zanzibar is an island archipelago that lies six degrees south of the equator and 30 miles off the East African coast out in the Indian Ocean. It is known for its spices, traditional Dhow sailing boats, and being a mercantile trading capital of Swahili culture. The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti Binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar's largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the Swahili world. The tracks recorded for Siti Of Unguja demonstrate Siti Binti Saad's eclectic influence on Zanzibari taarab and her great granddaughter, Siti Muharam imbues the compositions with feeling. Siti Muharam's golden voice carries the poetry and invents a timeless passion. It is Muharam's deep humility and love that brings the spirit of these two women together. With Sam Jones at the controls, taarab's conservative layers were opened up and given more than a little wiggle room. Under the direction of Matona, the recording of this album paid homage to Siti Binti Saad's innovations by bringing back the percussive Kidumbak style of music that originated on the streets of Zanzibar. By stripping back the typically dense string section of taarab a space was created for Muharam's beguiling timbre that is gilded with emotion. Liner notes by Pete OnTheCorner.
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