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BBI 621LP
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Brooklyn-based artists Leslie Graves and Toby Goodshank have joined creative forces on their album Between Worlds. Toby Goodshank (The Moldy Peaches, The Pizza Underground) of the OG New York Antifolk scene, is known for his precise and acrobatic vocals over nuanced acoustic guitar in songs that have been described as "a zesty thumb of the nose at domesticated bullshit." Leslie Graves (GOLD, Endless Arrows) is a performing songwriter and recording artist who takes folk subgenres into evocative and intriguing directions, including "sounding like something you could hear Donna Hayward dancing to at the Bang Bang Bar." Her voice has been described as "darkwave- meets-folk" with comparisons to Lana Del Rey, Cat Powers, Mazzy Star, and Julee Cruise. Acoustic guitar and vocal harmonies make up the core of their music. a slightly psychedelic, at times dream pop-like folkrock. It just draws from a variety of folk and rock. You might hear hints of Sybil Baer, Judee Sill, REM, Linda Perhacs, and Jessica Pratt, but the intersection of Toby and Leslie is truly a place of its own, warm and enchanting, or perhaps a glimmer from the spaces in between worlds. Many instrumental threads are interwoven throughout with the invaluable skills of Jake Nicoll (The Burning Hell) who lovingly engineered and embellished the recordings. Ariel Sharrat of The Burning Hell assisted him and is also featured on saxophone or bass or on some songs here. Speaking to their process, Leslie writes, "Toby is great at composing song structures quickly. It was fun to feel into the emotion of the chords and write from there. The process was like chiseling away at a stone to reveal the sculpture underneath. I like when songs come like that -- when it feels that they are teaching us as they are revealed."
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LPOST 071LP
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Crystal white vinyl. The film is based upon books written by Paolo Villaggio and narrates the misadventures of accountant Ugo Fantozzi, and his vicissitudes on his workplace and private life. It builds a unique communicative style to which generations of Italian people are fond. The soundtrack composed by Fabio Frizzi, with the collaboration of musicians Vince Tempera and Franco Bixio, is based upon the cue "La Ballata di Fantozzi," a cult track that literally everybody in Italy could whistle by memory, just to witness the immense cultural heritage of this cinematic franchise. This edition pays homage to the 50th year of life of Beat's favorite accountant and, aside the aforementioned cue features other cult tracks such as "Impiegatango," the New Year's Eve party music, the themes describing Fantozzi's "love affair" with Mrs. Silvani, music describing hallucinations of Fantozzi and Filini, the background music in the Japanese restaurant and alternate versions of "La ballata di Fantozzi." A release that marks an important appointment for all film music and Fantozzi lovers now available in a limited edition on crystal white LP, cover featuring the logo of the movie and Paolo Villaggio silhouette embossed, mastering by Claudio Fuiano, graphic layout by Daniele De Gemini featuring on the cover the crucifixion scene in the canteen room and, on the back, a lobby card reproduction displaying an epic scene of the football match "married vs singles."
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DIS 030LP
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2025 restock, on red vinyl. Fugazi's debut 7 song EP, originally released in 1988. Printed inner sleeve with lyrics. "This 12" EP was recut from the Silver Sonya masters in 2008 at Chicago Mastering Service."
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2LP
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DC 948LP
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LP version. "From out of the dark, the crackle of feedback birdsong signals a return to the land of sound environments exclusive to the music of Rafael Toral. A year and a half after his epochal electric guitar album, Spectral Evolution, Traveling Light finds him sharpening his focus, moving boldly from abstract forms to concrete compositions in the form of a set of jazz standards. Based on Toral's discography, this may seem an unlikely endeavor, but happily, Traveling Light transpires to be one of the major accomplishments in his long history, expressing these songs on their own terms through the unique listening lens of his music. Toral sidesteps the traditional logic of how to play a song, moving outside the framework with which one would expect a standard to be treated. Three decades ago, in the early years of his practice, Toral used the guitar as a generator, to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music, and the silence from which it came, with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies, radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. The result is a listening experience of these standards, that remains 'in the tradition,' even as the elongated harmonies seem to alter time such that, as Toral notes, 'the chords become events on their own.' At points, the long tones animate the sacred ennui of liturgic music, the choir or the organ standing in for silent contemplation while rumbling the ground beneath our feet. Another echo of the concentric circling of music in time. In addition to Toral's proxy orchestra of guitars, sine wave, feedback and bass guitar, Traveling Light features the sounds of clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe, and flautist Clara Saleiro, who each guest on one song. One of Toral's self-made devices incorporates a theremin -- another near-century old innovation in electronics conceived for use in classical music -- to modulate feedback melodies here. In every contour of Traveling Light's path -- arrangement, improvisation and production -- the spring of the old pours through the new in an unstoppable flow."
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DC 963LP
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"Out of the roiling miasma of timeless time comes a long-promised delivery from one of the constants of this era: Major Stars, and their new LP, More Colors of Sound. Fueled by overdriven guitars and gut-punching rhythm, these veteran rockers are stalwart in their delivery of trippy, psyched-out extremes. Over the 27 years since The Rock Revival (their Twisted Village debut), they can be counted on to come back around every three or four years or so, with something heavy picked up on their journey. This time, it's been since 2019's Roots of Confusion Seeds of Joy -- but what's a few years in the larger scheme of things? It's been since the late '90s that Major Stars have been transmitting their signal. But even eternity wasn't built in such an arc of time: Wayne Rogers and Kate Biggar have been crossing necks dating back to the '80s, with Crystallized Movements' screaming psychpunk hybrids. Tom Leonard, Major Stars' current third axeman, has been in the mix almost as long: Luxurious Bags' amorphous low-fi was released on Twisted Village too, and Kate and Wayne and him all played together in Vermonster. The More Colors of Sound lineup is as-was for Roots of Confusion Seeds of Joy: Kate, Tom, Wayne, Dave Dougan on bass, Casey Keenan on drums and Noell Dorsey singing lead. More Colors of Sound had been earmarked as a title for nearly twenty years when they started work on the album that would finally bear its name. For the first ten Major Stars releases, Wayne wrote everything, but due to the way things were in 2020 and 2021, Tom and Noell wrote a bunch of things together, along with Wayne's stuff. By the time they got to Gloucester's Bang-A Song Studios, there was enough music for a double LP. As ever, the crush of the three guitars as they riff with the rhythm defines Major Stars' sound. The work of two writing camps has produced a song-centric focus on More Colors of Sound -- one, of course, shot through with distorted tones, fevered neck-wringing solos and several extended jammers -- but the production overall has a cleaner sound than its predecessor. On More Colors of Sound, Major Stars find new hues inside the incendiary approach that's launched them so ecstatically since early times; another jar of infinity captured with a quality all its own -- and it's all in the grooves!"
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DC 967CD
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"In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim's deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, 'Inner Day' and 'I Don't Do / Grand Central,' his words and voice in the mix for the first time. A drummer of exquisite powers, great and small -- his Dirty Three compatriot Warren Ellis contends his playing long ago 'split the atom' -- Jim's capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. Inner Day is a state of nature: peace and tension, rest and disquiet aloft on the wind of Jim's inspiration. Working in conversation with his long-time collaborator Guy Picciotto on Inner Day, Jim travels further into the hypnotic relationships that they captured on All Hits: Memories. Here's another old friend, filmmaker Jem Cohen: 'I drove around listening to Jim's new record. It fit so well, even when the things themselves didn't: the straights and turns of the road, fields and houses and industrial parks, the possible rain, deep spring greens and the greys of a parking lot, the rain when it finally came. It goes where it will, quite fearlessly but never demonstrative or showy about its risk-taking. I'd say the record's a conversation Jim's having with the world, one that isn't about drums or being a drummer but, more expansively, about music as the spillway for feeling and experience.' Jim himself adds: 'On my first album All Hits: Memories, I wanted to have a keyboard sound to keep the drums company as together they celebrated why some things just 'hit' the psyche, why some memories stick. Later, I found the notes wanted to move more and so on my second album Inner Day, that is what they do.'"
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DC 967LP
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LP version. "In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim's deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, 'Inner Day' and 'I Don't Do / Grand Central,' his words and voice in the mix for the first time. A drummer of exquisite powers, great and small -- his Dirty Three compatriot Warren Ellis contends his playing long ago 'split the atom' -- Jim's capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. Inner Day is a state of nature: peace and tension, rest and disquiet aloft on the wind of Jim's inspiration. Working in conversation with his long-time collaborator Guy Picciotto on Inner Day, Jim travels further into the hypnotic relationships that they captured on All Hits: Memories. Here's another old friend, filmmaker Jem Cohen: 'I drove around listening to Jim's new record. It fit so well, even when the things themselves didn't: the straights and turns of the road, fields and houses and industrial parks, the possible rain, deep spring greens and the greys of a parking lot, the rain when it finally came. It goes where it will, quite fearlessly but never demonstrative or showy about its risk-taking. I'd say the record's a conversation Jim's having with the world, one that isn't about drums or being a drummer but, more expansively, about music as the spillway for feeling and experience.' Jim himself adds: 'On my first album All Hits: Memories, I wanted to have a keyboard sound to keep the drums company as together they celebrated why some things just 'hit' the psyche, why some memories stick. Later, I found the notes wanted to move more and so on my second album Inner Day, that is what they do.'"
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EB 215CD
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Dub Spencer & Trance Hill once again realize their musical vision with their new release Synchronos. The perfect hybrid of dub and trance -- analog, danceable and at the forefront of sound technology. With Synchronos, Dub Spencer & Trance Hill present an album that defies conventional categories. The new tracks surprise and guide the listener into a colorful world of sound -- an acoustic kaleidoscope in which diversity becomes a principle. Musical components -- dub, trance, dance, techno, rock, jazz -- are put together by the musicians in new and unexpected ways. Experimental, multi-layered and always good for surprises, yet inevitably club- ready: That's Dub Spencer & Trance Hill.
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EB 223CD
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Echo Beach presents: Don Letts: The Rebel Dread -- legendary film and video director, disc jockey and musician. Don Letts, in his capacity as a selector (it's not for nothing that he hosts his own show on BBC6 radio), enthusiastically accepted the invitation to create a compilation from Echo Beach's extensive catalog to mark its 30th anniversary. A splendid and crisp selection. Featuring Dubinator, Martha And The Muffins, Dubmones, Earl 16 & Oku Onuora, Dubblestandart, Dubxanne, Claire Parsons, Dub Stax, Don Letts Dub Cartel, Aaron, Dubblestandart, Marcia Griffiths, Toogah, Fila Brazillia, Ari Up, Lee Scratch Perry, Noiseshaper, Kid Loco, Soul Sugar, RSD, Ammoye, and Dub Spencer & Trance Hill.
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EB 223LP
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LP version. Echo Beach presents: Don Letts: The Rebel Dread -- legendary film and video director, disc jockey and musician. Don Letts, in his capacity as a selector (it's not for nothing that he hosts his own show on BBC6 radio), enthusiastically accepted the invitation to create a compilation from Echo Beach's extensive catalog to mark its 30th anniversary. A splendid and crisp selection. Featuring Dubinator, Martha And The Muffins, Dubmones, Earl 16 & Oku Onuora, Dubblestandart, Dubxanne, Claire Parsons, Dub Stax, Don Letts Dub Cartel, Aaron, Dubblestandart, Marcia Griffiths, Toogah, Fila Brazillia, Ari Up, Lee Scratch Perry, Noiseshaper, Kid Loco, Soul Sugar, RSD, Ammoye, and Dub Spencer & Trance Hill.
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EFFICIENT 046LP
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A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied "offshoot" formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton, and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century. Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory, then or now, though. Fellow travelers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb
's Robin's Reign). There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality -- think of abstract cloud formations sharing the same sky. Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory is thus named perfectly. A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction.
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2LP
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POTFLP 009LP
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For the first time on vinyl! The third Poets Of The Fall album (2008) and the first one that has been produced in the bands own professional studio and not in Markus Kaarlonen's living room. It was certified gold two weeks after its release.
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CD
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IAGCD 010CD
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After over a decade of psychedelic odysseys, cult acclaim, and international touring, Dresden's beloved psych collective, The Roaring 420s return with We're All In It Together -- a long-awaited third album and a triumphant swan song for the band's original line-up. These songs shimmer with '60s guitars, swirling organs, reverse fuzzes, and radiant vocal harmonies. Whether you call it garage rock, surf, psych, or exotica, one thing is clear: this ride is going to be wild -- and we're all in it together.
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IAGLP 010LP
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LP version. After over a decade of psychedelic odysseys, cult acclaim, and international touring, Dresden's beloved psych collective, The Roaring 420s return with We're All In It Together -- a long-awaited third album and a triumphant swan song for the band's original line-up. These songs shimmer with '60s guitars, swirling organs, reverse fuzzes, and radiant vocal harmonies. Whether you call it garage rock, surf, psych, or exotica, one thing is clear: this ride is going to be wild -- and we're all in it together.
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PCRCD 075CD
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For three days in September 2024, Kacimi locked himself away in Christian Hierro's Back To Mono studio in Lyon for a live session. Accompanied by his band, La Mécréance, this new opus was recorded on an 8-track tape recorder under concert conditions, with one microphone per musician and a couple of ambient speakers to capture the energy and intensity of the combo. Using exceptional Telefunken V71, V72 and V76 tube preamps and old-fashioned ribbon mics to get as close to reality as possible, Kacimi's new nine-track album, Mauvaise, takes the form of a sonic garage epic in which fuzz guitars take center stage. Kacimi offers here a selection of new tracks as well as a few familiar ones from his live repertoire.
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PCRLP 075LP
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LP version. For three days in September 2024, Kacimi locked himself away in Christian Hierro's Back To Mono studio in Lyon for a live session. Accompanied by his band, La Mécréance, this new opus was recorded on an 8-track tape recorder under concert conditions, with one microphone per musician and a couple of ambient speakers to capture the energy and intensity of the combo. Using exceptional Telefunken V71, V72 and V76 tube preamps and old-fashioned ribbon mics to get as close to reality as possible, Kacimi's new nine-track album, Mauvaise, takes the form of a sonic garage epic in which fuzz guitars take center stage. Kacimi offers here a selection of new tracks as well as a few familiar ones from his live repertoire.
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BEC 5772796
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2025 restock. Jacques Canetti Productions presents Jacques Higelin & Brigitte Fontaine's 1967 album Chansons D'Avant le Déluge, reissued on vinyl as part of a series of albums highlighting the work of French talent agent and producer Jacques Canetti. In his lifelong dedication to chanson, Canetti supported and developed the careers of a dizzying array of artists: Édith Piaf, Jacques Brel, Serge Gainsbourg, Boris Vian, Georges Brassens, Serge Reggiani, Léo Ferré, and Jeanne Moreau are among the most notable. Brigitte Fontaine's partnership with Canneti had begun a year before this album's release with her debut album, 13 Chansons Décadentes et Fantasmagoriques (BEC 5772795). This, her second release on Disques Jacques Canetti, heralded the arrival of her highly productive partnership with Jacques Higelin, and remains a cult duet album. Chansons D'Avant le Déluge includes "La grippe" and "Maman j'ai peur," two songs that would go on to become centerpieces of the duo's stage musical Maman j'ai peur. The album features production by Canetti and orchestral arrangements by Jimmy Walter, who also arranged the orchestral parts for Fontaine's debut. Remastered from the original tapes. Housed in a gatefold jacket with original artwork.
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JJ 5015LP
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Limited to 500 copies. Reinhard Holstein: "I've always had a soft spot for weird misfits! Ramsay Midwood is such a weirdo. I first heard him when Neal Casal and I were on our way to Big Pink (the house where The Band lived and recorded The Basement Tapes with Bob Dylan). He popped a CD into the player of his red Chevelle, and I was immediately hooked. Shortly thereafter, we released this album on CD through Glitterhouse Records. That was in 1999. Now, over 25 years later, after a long struggle, I finally convinced Ramsay to let me produce the first vinyl version of this masterpiece. Because of the approximately 800 records released during my time at Glitterhouse, Shoot Out At The OK Chinese Restaurant is my absolute favorite. Like JJ Cale jamming with Tony Joe White on Valium! Here's what others are saying: Shoot Out at the OK Chinese Restaurant draws deep from two American wells. Traditional music nourishes these performances, but so does that part of American culture that produces idiosyncratic, somewhat twisted individualists. In a laconic drawl that recalls both Woody Guthrie and Levon Helm, Midwood projects an ageless, enigmatic quality; like Leon Redbone, he might be a prematurely rustic twentysomething, a crotchety yet poetic septuagenarian, or anything in between. Vivid images fill his lyrics and drift over shambling tracks marked by banjo plucks, beat-up old pianos, and other garage-sale relics. His songs offer romantic insights based on distant experience, bits of aphoristic wisdom fashioned as koans from a Dust Bowl Buddha, reflections on redneck bravado and stream-of consciousness ramblings that seem more wise than coherent. Perhaps his most compelling lyric, 'Spinnin' on a Rock,' documents the murderous fantasy of a laid-off dockworker in couplets more reminiscent of a playground game. In one song, Midwood advises listeners to hear him out with the wry line, 'Take a tip from a real smart feller.' That's a suggestion worth listening to, given the broken-down brilliance of this debut."
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JJ 5019LP
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LP version. Limited to 500 copies. A swamp-noir reworking of roots, blues, and outsider gems. Brighton's swamp-noir stalwarts Mudlow return with Run Thru the Cover Crop, a full-length LP of cover versions released via acclaimed German label JukeJoint500. Long known for their slow-burning, smoke-hung blend of blues, jazz, and Southern Gothic storytelling, Mudlow take a sharp left turn here -- offering up ten carefully chosen reinterpretations that reflect the dark undercurrents and idiosyncratic soul of their influences. But this is no paint-by-numbers tribute. With Run Thru the Cover Crop, the band doesn't so much cover songs as inhabit them -- dragging each track down into the lowlands and dressing it in Mudlow's signature grit and shadow. The album's selections span decades and genres, but they're unified by tone and texture: lonesome, bruised, and cinematic. The album cover -- a stark, twilight-drenched image of silhouetted poles and crows perched on power lines -- captures the desolate, timeless feel of the music inside. Run Thru the Cover Crop plays like a haunted mixtape discovered in the glovebox of a car that's been abandoned since the '70s. The album follows 2022's Bad Turn and marks a bold addition to their growing discography -- leaning into tradition while twisting it into new, stranger shapes. For fans of Tom Waits, Morphine, Solomon Burke, Kelly Joe Phelps, and anyone drawn to the murky end of the river.
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3LP
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KOM 370-3LP
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2025 repress. Pop -- the album that has become widely recognized as the defining moment in which Wolfgang Voigt brought his listeners into a clearing of his deep, psychedelic forest. A landmark release in the GAS odyssey that drew international attention, Pop was originally released in 2000 on the iconic Frankfurt imprint, Mille Plateux. Pop was heralded by Pitchfork at the time of release as being "an exercise in sonic texture... pure sonic velvet, the layered drone radiating a palpable warmth." Pop was reissued by Kompakt in 2016 as a part of GAS Box (now out of print) and by itself here. First time on 180 gram, triple-LP vinyl; includes original artwork.
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KOMP 186CD
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Kompakt's Total 25! Another anniversary in a year that is already rich in anniversaries. For the 25th time, the Kompakt family is gathering for its annual rendezvous. The latest boy band in town, Pop Vampires Cologne, opens the party with the enigmatic "Karianne." Superpitcher knows how to make a grand appearance, accompanied by high-caliber guests. His electro-pop treat "Pandora's Box" features Hot Chip's Alexis Taylor on vocals. Jürgen Paape isn't coming alone either, but with newcomer Hella in tow. "Grace (A Tale)" once again shows the resident hit maker at his best. Jörg Burger also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. Reinhard Voigt points out that money never sleeps and proceeds according to the motto: "Zahl an einem anderen Tag (Pay another day)." Brazilian whirlwind Gui Boratto returns after a long absence with the banger "Panorama X-Press." After careful consideration, Robag Wruhme has named his new track "Total" and sings in the chorus with his family for the first time. Wassermann contributes an ultra-fat remix of Mayer's "Brainwave Technology," while Michael Mayer himself marvels at the rare "Erdbeermond." Hardt Antoine's "Let Me Go" really gets the party going again before Wassermann orders a large taxi and skips out on the bill.
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MAG
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MAGGOT 021
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"On the cover: A comprehensive feature by music writer Shahlin Graves on why Japanese Breakfast's recent record For Melancholy Brunettes (& Sad Women) rules so hard, going in-depth on the meaning and gestation of many of its songs with band leader Michelle Zauner, author of Crying in H Mart. Also includes a bunch of really killer, exclusive photos lovingly accompanying the piece. An exceptional interview with Kai Slater, the super prolific, talented 20-year-old member of Lifeguard, about his terrific pure-pop-for-now-people solo project Sharp Pins by Sydney Salk. Includes amazing, lengthy oral history from the crew who worked behind the scenes on the 1981 Bronx-based cult horror flick Wolfen. This alone is probably worth the price of admission. A deliriously well-written tribute by noted music scribe and DJ Kurt Reighley to Gavin Friday, covering his entire career: from the Virgin Prunes through Hollywood collaborations, and his solo work today. Two separate charged and cantankerous interviews by Knoxville-based historian Eric Dawson, stitched together and serving as a swell tribute to the great Pere Ubu leader David Thomas (RIP). Ubu forever."
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MGART 614LP
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2025 repress. MG.ART announce the reissue of Join Inn as part three of the authorized 50th anniversary "A.R.T." re-edition series. Join Inn is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion Each side of the LP comprises one long track. In 1972, Ash Ra Tempel teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, Ash Ra Tempel members Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late-night session. This recording led to the birth of the Join Inn album, as well as two legendary last concerts in February 1973 in Paris and Cologne. Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on "Freak n' Roll", that was ingenious and not to replace ever since. It was the last recording ever where Klaus Schulze (who sadly passed away in 2022) played the drums and also Hartmut (the Hawk) Enke soon after quit the bass and music forever. Join Inn marks the end of the collaboration with Klaus Schulze. However, together with Ash Ra Tempel, their eponymous first album, it is considered a highlight of the Krautrock movement. Re-cut overseen by Manuel Göttsching.
Julian Cope's review from his book Krautrocksampler (1995): "'Freak'n'roll' fades in like it never started -- just was always there from the beginning of time, a dry wah-guitar free rock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Göttsching's guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it's the return of Klaus Schulze on drums which propels 'Freak'n'roll' to its height. No-one but Klaus has the ability to transcend rock n' roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it. 'Freak'n'roll' is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song. As usual with Ash Ra Tempel, the other side is an enormous drift piece called 'Jenseits (The Next World)', a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers' meeting with Timothy Leary..."
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IN 278492CD
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Jerome Froese's fourth solo album. Jerome Froese was a long-standing member of the legendary German electronic band Tangerine Dream, working as a composer and multi-instrumentalist from 1990 to 2006. During this period, he received seven Grammy nominations. As the son of Tangerine Dream founder Edgar Froese, who passed away in 2015, he carries on the musical DNA with independence and innovative spirit -- in his own unique way. Froese's solo works are characterized by his unmistakable trademark sound, which he himself describes as "guitartronica" -- a unique fusion of electronic sound structures and guitar-based textures. In addition to electronic elements, the album also features stylistic influences from the post-rock and dreampop genre, which lend the sound additional emotional depth and organic warmth.
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LP
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M 1219LP
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Restocked. "Alto saxophonist Marion Brown was an initially underrated hero of the jazz avant-garde. It was only after he moved from Atlanta to New York and joined John Coltrane that audiences and critics took notice. Dedicated to discovering the far-reaching possibilities of improvisational expression, Brown possessed a truly lyrical voice. In the early seventies, he played with Anthony Braxton, Andrew Cyrille, Bennie Maupin, Jeanne Lee, and Chick Corea, among others. On this recording, he was accompanied by the German jazz musician Gunter Hampel (composer, vibraphonist, saxophonist, flutist, pianist, and bass clarinetist). His son Djinji remembers his father by saying, 'The way he played sounded like his speaking voice, the way he held his horn reminded me of the way he held my hand, the way he walked was in the same rhythm as his songs, and then everything made sense. His music was first and foremost who he was. It was the purest expression of his soul, and everything he did had the same gentle power as his music. He was truly one with his art; there was no separation between the two.'"
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