Forced Exposure New Releases for the Week of 10/17/2022
New music is due from Dubfire, Saint Abdullah & Eomac, and Bill Callahan, while old music is due from Wganda Kenya, Alessandro Cortini, and Iannis Xenakis.
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NEW RELEASES FOR THE WEEK OF 10/17/2022
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A CLEAN CUT (GERMANY)
CAT #: ACC 007EPFREDERIK, JASPER Universe 12"
As the always-man-behind and mainly jack-of-all-trades he influenced a lot of art and style. For many, he is like one of the greatest hidden icons on the spot. Scandinavian man of mystery, Jasper Frederik, is now doing it again musically. After his acclaimed debut Beautiful on A Clean Cut, he shows his prowess on his next song outing Universe, a kind of eclectic hypnosis as a never-ending track. Years ago, by leaving the causal circuit of Scandinavia after uncountable art and acting projects, collaborations, affections and residencies, he started to reach his real destiny via stops in Germany, United Kingdom, and the Bahamas: New York City. The universe could be a better place, but, hey, there are a lot of things to do here on this planet, our world. Universe is here. Art is here. Love is here. "Universe" is spotlighted with stunning and killer remixes by two highly influential artists and producers: man-of-the-moment Captain Mustache (Bedrock, Permanent Vacation, Kompakt, Return To Disorder) and living legend DMX Krew (Rephlex, Breakin' Records). What a blast.
CAT #: ATA 025EPBRADOCK, PEPE Dactylonomy V 12"
Re-Belote: 5 is the sexy prime and final chapter of the this ridiculously digital collection. A moving tribute to the pink(y) automated arpeggiator, and a synthetic soundtrack to broadcast your own good dancing news. Not reluctant but cheerful, "The Offering", opening track, is a nervous gift for repentant drunk divers planning to ball and wiggle with hurried eared seals -- But not only -- Planning ways to a temporary sanctuary, "Tabernacle" is a sonic underwater transcription of a televised fishy ballet. On the other side, "Firmament", our optimistic roof is escalating the heat with an exhilarating crew of humming step sequenced anointed bleeps, bubbly pianos and tipsy sine waves. "Paroles" slows down the pace while staying in the digital submarine realm with unseen ties that you will feel deeply. Drawing a face of happiness, the mesmerizing "Family" reminds us the thicker than mud climate needed to sways out of this aquadelic escapade.
AVANTROOTS RECORDS (SPAIN)
CAT #: AR 054LPPULSHAR Umbra/Lux 2LP
A double vinyl compilation that perfectly captures Pulshar's sound: an elegant mixture of dub, techno, R&B, and ambient. Contains 12 tracks previously unreleased on vinyl. This release was certainly not meant to be a "Best of" compilation but it is a collection of special moments that Sergio and Pablo wanted to capture and share on one definitive release. This is an opportunity to look back on Pulshar's career in a retrospective and reflect about how their background and influences have led to the complete sound of the act. Umbra/Lux (title based on their production technique that naturally blends dark and light aesthetics) contains 17 tracks that traverse the gamut of their sound with an impeccable level of quality. "A crossover sound that the deepest electronic heads and mainstream music fans can equally enjoy. The energy in their music is universal, and moves all who are exposed to it. One of my all-time favorites" --Rod Modell (Deepchord/Echospace). "Music that came from some intimate and deeply ethereal place that effortlessly bridged the gap between the dance floor and the home-listening environment. Pulshar is a unique dub-heavy, soulful, psychedelic journey." --Vladimir Ivkovic
CAT #: AVE66 013LPMOIRE Circuits LP
Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed primarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music. While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8"), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC, or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.
CAT #: BV 278174LPCAVE, NICK Sings More Modern Classics (and Songs from the Silver Screen) LP
The king of alternative pop sings: "Disco 2000", "Let It Be", "Mojo", "The Kiss Of Love", "I Just Dropped In (To See What Condition My Condition Was In)", "I'm Your Man", "Cosmic Dancer", "Money & Run", "Farewell Song", "Ramblin' Mind", "The Breaking Hands", and "Shine On Me".
BANG! RECORDS (SPAIN)
CAT #: BANG 160LPMASON, IAN Ordalias 2LP
Ordalias marks the first solo album by Ian Mason, lead singer of the well-known Basque Country heavy doom rock act, The Wizards. Within this precious edition shaped in a double-LP work, you can find 13 selections of dark and psychedelic folk in the way of bands like Wovenhand, Swans, or Death In June with lyrics involving matters such as spirituality, Christian mysticism, and the symbolist poetry of authors like Yeats, Blake, Goethe, or Novalis. Ordalias regards as a magical vessel to connect with Ian Mason's unique cosmovision, this collection of songs, had been conjured from the depths of the subconscious world by a sort of meditation sessions and magical operations along the period of five years, in which as a result, the musician has found the visions and ecstatic images that became the songs which conforms Ordalias in its entirely (sic). All of this has been fulfilled with a delicate handcrafted work in the visual outfit of the album. Seven depicted drawings from the Illustrator Nerea Kndina and the final graphic outcome, done by Babylon Fell designs studio, takes Ordalias a step further from other similar works and releases. A work which stands to look beyond the music, a true appeal to the strength of the vision and the inner voice. Edition of 300.
BATOV RECORDS (UK)
CAT #: BTR 066LPSHOTNEZ Dose A Nova LP
Two decades since they formed in New York City and over ten years since their last album, Tel Aviv based quartet Shotnez are back with Dose A Nova, an album of ten exhilarating jazz filtered jams, with vibrations indebted to Tuareg desert blues, Ethiopian-jazz, 1950s Afro Cuban recordings, surf rock and folk from across the East Mediterranean basin. Featuring the original Balkan Beat Box, producers Ori Kaplan and Tamir Muskat alongside Uri Kinrot from Boom Pam and Itamar Ziegler from The Backyard, four musicians who are all producers and share love and deep connection to hip hop and jazz, Shotnez reunited in 2020 meeting up for improvised sessions and jams, once a week over a period of about four months at a carpentry turned music studio in suburban Tel Aviv. Downing MIDI cards, triggers and synths, the day-to-day tools for these four producers and picking up and playing their respective traditional instruments -- saxophone, clarinet, guitar, bass, percussion and drums -- the group was immediately liberated by the moment. In the middle of a strict lockdown, they had no preconceptions, no deadlines, no labels or managers knocking on the door. This was an opportunity to rebuild the camaraderie that developed on the other side of the world two decades back, to reconnect as brothers and seek a higher spiritual plane, all the whilst fully encouraging each other to express their diverse musical backgrounds channeled within, during their time apart. Dose A Nova is a smoky affair with jazz the common denominator through its ebb-and-flow. Oozing in globally recognizable grooves from Afrobeat ("Contagious") to Afro Cuban ("Shemesh"), its chord structures and scales from east and west insistently interweave rewarding the record with dynamic mood swings. There is a punked out, baritone sax inspired workout in "Gina", Middle Eastern traditions, claps and vocals combine on "Marhaba" and guitar and a heavy sax lick drives the surf sound of "Last Straw". Tamir and Ori, the drummer and saxophone/clarinet players have shared a massive part of their musical careers together. They have both been members of Gogol Bordello, lived in New York together for many years and in recent times have become, slightly unexpectedly, uber-hot property as their Middle Eastern bass heavy beats and saxophone riffs have been sampled for hugely popular songs such as Fifth Harmony's "Worth It". But with feet on the ground, back to the humble and cozy carpentry studio and creative nest of Shotnez, it's Kendrick Lamar they collectively turn to for inspiration, specifically to To Pimp a Butterfly. For fans of: Altin Gün, Satellites, Sababa 5, Balkan Beat Box, Gogol Bordello.
BE WITH RECORDS (UK)
CAT #: BEWITH 110LPMASTON Panorama LP
With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the '70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips (BEWITH 087LP, 2020) and Darkland (BEWITH 096LP, 2021). Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers. In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records -- but he was super keen. Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasized about committing to a record with no distractions, with a proper budget, access to his gear and space to work in -- to really dig in and try to write and arrange the best work he could possibly make -- it was a real "be careful what you wish for" moment. He spent seven months on it, working almost every day. Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Maston's sleek retro-groove instrumentals emulate the classic KPM "Greensleeve" reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony (BEWITH 041LP), Maston's Panorama could be heard as that record's funky follow-up. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations. Features vocals by Molly Lewis, Eli Ghersinu of L'éclair, Pedrum of Allah Las/Paint, and more. Mastered by Simon Francis, cut by Pete Norman, and pressed at Record Industry.
CAT #: BEWITH 114LPWEISS, KLAUS Open Space Motion (Underscores) LP
They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research." Be With Records say: Panoramic proto-techno underwater-electro library dynamite. One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever. As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. And yet! Open Space Motion departs from his drum-heavy approach by being completely... beatless! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere. The highlights -- unsurprisingly -- are many. The very first track -- the unstoppable "Wide Open Space Motion" -- is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*. The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb. As with all our library music re-issues, the audio for Open Space Motion comes from the original analog tapes. Remastered for vinyl by Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.
CAT #: BNSD 068LPVOZ, DOMINIC Right To The City LP
Chicago by way of Portland musician Dominic Voz fuses ambient, classical, spoken word, and deconstructed dance music into an album of visceral beauty and heady ideas. Grappling with themes of urban contestation and dispossession, Right To The City celebrates our communal fabric in the face of contemporary capitalism's social stratification and endemic violence. The album is the first co-release between Accidental Records, renowned electronic musician Matthew Herbert's hub of experimental releases, and Portland's Beacon Sound, a stalwart of gorgeous and innovative music from the Pacific Northwest and beyond. The album features several collaborators, including Patricia Wolf (Balmat) and Jonathan Sielaff of Golden Retriever (Thrill Jockey). "As far back as I can remember, I have been obsessed with cities. As a child, I was fascinated by their richness and mythology -- the romance of cities, which is so ubiquitous across the American psyche. No doubt aided by the lore of countless films and photographs, I grew up yearning for an identity filled with grit and relevance that a city life seemed to provide. As an adult social worker and city dweller, my fascination morphed into a focus on the social arrangements and contestation produced in urban settings. Right to the City is my own way of unraveling these ideas through a process of fractured storytelling; some of the songs are meant as imagined ethnographies of the people dispossessed and marginalized in cities while others are vignettes meant to soundtrack a besieged urban existence -- a visceral immersion into the warring sounds of the city. They are decidedly not 'protest songs'; they are my love letters to, and nightmares of, Portland and Chicago over two fraught years, told through characters from every corner of my life. I ripped samples of riot munitions and street chants from television news and YouTube, recorded police sirens in the street, enlisted friends to play cello and clarinet and to recite fragments of poems, and experimented with a half dozen forms of synthesis. In the end, I tried to make something that molded all the inputs into a coherent story that was by turns hushed and wailing." --Dominic Voz RIYL: Holly Herndon, SND, Autechre, SOPHIE, James Ferraro, Ikue Mori, Nobakazu Takemura, Mouse of Mars, Matmos, Foodman, Laurel Halo, Jim O'Rourke. Edition of 300.
BEAT GENERATION (SPAIN)
CAT #: BEAT 088LPVA Chaos In CH: A Collection of Underground Swiss Punk 1979-1984 LP
A comprehensive guide to the best Swiss punk has to offer. Includes full classic 7"s such as TNT's "Züri Brännt" (1978) and Negativ's "Glitter Hair Cream" (1982) along other Swiss punk anthems and unreleased material. Comes with an extensive insert featuring photos and texts telling the story of the bands and putting the Swiss punk scene into context. 17 tracks of pure punk mayhem by the likes of luminaries TNT, Bellevue, Abgas, Crash Course, Negativ, Kie 13, Vorwärts, and SIDA. An incendiary selection of Swiss underground punk gems from 1979 to 1984. A throwback to the time when the Helvetic confederation was on fire. Most tracks have been reissued for the first.
BECAUSE MUSIC (FRANCE)
CAT #: BEC 5161627AVERY, DANIEL Drone Logic 2LP
2022 restock; Double LP version. Comes in a gatefold sleeve and includes download card. This 12-track album by Daniel Avery was written and produced since the turn of 2013 and mixed with Erol Alkan at The Phantasy Sound studio in London. Like Carl Craig's More Songs About Food and Revolutionary Art, Plastikman's Consumed or more recently, the work of Four Tet, this album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward-thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU!, and Chris Carter, while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden, and Factory Floor. Firmly established as one of the UK's most exciting new DJ/producers, having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally-acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors, and Django Django and 2012's Need Electric and Water Jump EPs on Alkan's Phantasy label.
CAT #: BEC 5610722COMELADE, PASCAL Le Non-Sens Du Rythme LP
LP version. Following Le Cut-Up Populaire (BEC 5676465/5676466, 2020), Pascal Comelade announces the release of his new album Le Non-Sens Du Rythme. Since his first record published in 1975, Pascal Comelade, a child of the frenzy rock of the '60s and '70s, has developed a profuse body of work including many musical collaborations (PJ Harvey, Robert Wyatt, Jaki Liebezeit (Can), Lee Ranaldo, The Liminanas...) and non-musical collaborations (Jeanne Moreau, Sergi Lopez, Jean François Stévenin, Bob Wilson...) His compositions are reminiscent of MC5, Erik Satie, Nino Rota, Ennio Morricone, Suicide: a language that dances on a musical skeleton in perpetual movement by successive fusions, mixing folklore and underground, repetitive music and French chanson, pataphysical riffs and toy instruments. As a multiple artist, he has developed an aesthetic approach via a particular link to visual arts. He draws, paints and occasionally performs with painters Miquel Barcelo and Hervé Di Rosa. On his new album, Le Non-Sens Du Rythme (to be translated "the nonsense of rhythm", the title says it all), Pascal Comelade almost plays all the instruments, not only multiple pianos but also the Rickenbaker e.bass, the Indian Harmonium, various keyboards, and even the tin can. He remains the undisputed master of the instrumental ritornello inspired by popular music as well as krautrock.
CAT #: BEC 5610770SANTOS, CHARLOTTE DOS MORFO LP
Charlotte Dos Santos announces debut album MORFO with lead single "Hello Hello". Described as "assured as Solange" by The Guardian, Charlotte Dos Santos is a formidable multi-faceted producer and composer who has worked with the likes of Blood Orange and Gotts St Park, making music free of any confines."MORFO is a sonic tale about transformation, about love and pain. It's a playful journey through my deepest inner thoughts combined with elements of music I admire, such as soul, R&B, funk, MBP/samba, and classical. I am a child of the world, born in two cultures and on this album I am digging deeper into my ancestral roots and into my consciousness, and MORFO is the result." --Charlotte Dos Santos
BONDAGE MUSIC (GERMANY)
CAT #: BOND 12066EPRANERRO, ALEX Fragments 12"
After his phenomenal debut in 2020, Slovenian House wizard Alex Ranerro returns to the ever-delivering Bondage Music label with a new relishable five-piece EP, including remix from Lola Palmer. Title track "Fragments" welcomes you with dabbling and shimmering percussions, accompanied by a cozy warm sub bass and a crispy drum framework. While the buttery tops and flashy FX effects subtly work their way through our hearing, we already sense the first vibrations of the peerless stellar synths unfolding continuously throughout the track. Next up, Lola Palmer pleases with her very own version of the original. She adds a muffled kick and a drone bassline, turning the track into a matter of deep groove. Smooth piano chords nestle perfectly into this housy roller which is relying on a tasteful selection of lucent hats and twinkling shakers. Following up is a true Alex Ranerro classic, going by the name of "Jungfraujoch". The Slovenian certainly aims for the good vibes with this harmonious piece of joy. Rattling percussions say "hello" to the rolling bass and dubby melodies, promising a dazzling act of pleasure on the dancefloors of this world. Breakbeat connoisseurs are going to love the next delicacy on the menu: "Radiation" turns out to be a true cosmic affair, embracing us with clanking snares and a hypnotic pad straight from the orbit. Divine and perfectly placed synthesizer chords do the rest and let you ultimately float towards the ether Alex Ranerro has created for his audience.
CELLULE 75 (GERMANY)
CAT #: CELL 006LPRICHTER, MARC Diode, Triode LP
First release under Black To Comm's real name: Marc Richter. This album presents two multichannel works recorded at the seminal INA GRM Studio in Paris and ZKM Institute in Karlsruhe respectively, mixed to stereo at the composer's Cellule 75 Studio in Hamburg with excellent mastering by Rashad Becker. While his releases under the Black To Comm moniker often touched the fringes of acousmatic techniques and musique concrete this is Richter's first foray into a more abstract spatial music. Recorded in the week leading up to the Paris terror attacks at the GRM studio, "Diode, Triode" is loosely based on a reading of (and, in parts, a failure to understand) "Le Parasite" (1980) by Michel Serres, a philosophic metaphor about human interaction and communication (which can also be interpreted as a lyrical essay on capitalism; part confusion, part enlightenment). As core elements Richter is using speech synthesis and the transformation and distortion of concrete sounds, instruments, voices, and breathing. Abstract incognizable sounds are combined with strings, reeds, and percussion while dismembered musical fragments emerge and vanish rapidly. Chunks of interfering noise are followed by long periods of silence; chaos and order are alternating. Choirs of synthetic and processed human voices are recounting stock market values, seemingly random sequences of numbers and inscrutable lyrics while parasitic sounds are trying to crack, collapse and fractionize the compositional stream and sonic interactions. Finally, a haunting piano chord is wrestling with a broken Publison machine. Like the book, it's part confusing, part enlightening -- and a radical piece of sonic art. "Diode, Triode" was premiered on the Acousmonium at INA GRM's Akousma Festival in Paris, January 22, 2016 alongside new works by François Bayle, Robert Hampson, Leo Kupper, and Ragnar Grippe. The second piece "Spiral Organ of Corti" has been composed in 2014 for the 47-speaker Klangdom concert hall at ZKM Karlsruhe at the foot of the Black Forest (where Richter was born and raised). How does one listen with closed ears? Sine tones, alienated human voices and breathing noises build a labyrinthine puzzle alternating between the natural and the artificial. Human sounds merge with winds and strings, sine tones morph into metal sounds. Acoustic illusions confuse the listener, and dense noise-clouds slowly emerge from deceptive silence. "Spiral Organ of Corti" is yet another extended composition that proves Richter is on a path of his very own. "Spiral Organ of Corti" is dedicated to the late Gary Todd. Edition of 300.
CAT #: CH 43333LPSILL, JUDEE BBC Paris Theatre London March 23, 1972 LP
A singer-songwriter who wrote for the Turtles, Judee Sill -- in her early 1970s heyday -- was compared to Asylum label contemporaries like Joni Mitchell, though her music had stronger spiritual overtones. This nearly forgotten performance reveals a true talent that deserved so much more during her short lifetime. Judee Sill grew up in a very troubled home and came through it with some truly great music to tell so many stories that many of the more sentient listeners will appreciate.
CIRCUS COMPANY (FRANCE)
CAT #: CC 022CDPAILHES, EZECHIEL Melopee CD
On his fourth solo album, much as in Oh! (CC 020CD/CCS 111LP, 2020), the French composer, pianist, and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects, and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past. Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th, and 19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786- 1859), and Renée Vivien (1877-1909). He actually started this project in 2017 with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo, and above all Marceline Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?), "Élégie", or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th century through the quality of her texts and her formal inventions, particularly praised by Balzac, and apparently a decisive influence on Verlaine and Baudelaire. Besides Marceline's very musical poetry, you find the more famous, and rebellious, Renée Vivien, whose texts inspired three songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia), and "La fille de la nuit" (The night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of female genius, combined in her work the themes of desire, dreams, melancholy and the relationship with nature. Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire, and the torments and pains they generate. Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms, as well as a form of scansion that echoes rap, R&B or the current fusion between hip-hop and pop, which is part of the musical background and that of younger generations. The album is thus marked by contemporary electronic orchestrations, in which he drops his favorite instrument, the piano, and his digital collage technique to use more extensive synth melodies, enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, you can hear slight digital tones of auto-tune, which Ezéchiel uses sparingly and inventively. Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song", sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing, which does not come from rap, but rather from jazz, Ezéchiel's first love. LP version includes printed inner sleeve.
CAT #: CCS 122EPPORTABLE My Light of Yesterday 12"
In the wake of Portable's acclaimed album My Sentient Shadow (CCS 120LP, 2022) comes a trio of remixes which expand on his unique slant on techno and synth-pop. Finding three artists who reflect his own experimental tendencies within dance music, Alan Abraham's original productions head into unexpected new places while retaining the physical, club-ready energy he manages to instill in his own creations. A true auteur within techno, DJ Qu brings a sense of poise and drama to "The Spacetime Curvature" as he patiently builds the track into a fierce peak time monster driven by snarling bass and his signature sizzling, shuffled percussion. Patrice Scott has a reliably smooth, immersive approach to deep Detroit house, and it lends itself beautifully to Abraham's melancholic vocal on "I Feel Stronger Now". Leaning in on the jazz dimension of his wide-ranging electronica, Call Super revels in the sweetness of "Ripple Effect" and places delicate piano playing upfront before slipping into a relaxed, sentimental kind of garage and eventually edging towards an uplifting, off-center strain of house music. Individual in their own right and yet naturally entwined with the emotional intention of the original versions, this is a set of remixes which pay full credit to the source material while offering something you won't expect, like a great remix should do. Color eco vinyl.
CAT #: CCS 123LPPAILHES, EZECHIEL Melopee LP
LP version. Includes printed inner sleeve. On his fourth solo album, much as in Oh! (CC 020CD/CCS 111LP, 2020), the French composer, pianist, and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects, and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past. Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th, and 19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786- 1859), and Renée Vivien (1877-1909). He actually started this project in 2017 with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo, and above all Marceline Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?), "Élégie", or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th century through the quality of her texts and her formal inventions, particularly praised by Balzac, and apparently a decisive influence on Verlaine and Baudelaire. Besides Marceline's very musical poetry, you find the more famous, and rebellious, Renée Vivien, whose texts inspired three songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia), and "La fille de la nuit" (The night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of female genius, combined in her work the themes of desire, dreams, melancholy and the relationship with nature. Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire, and the torments and pains they generate. Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms, as well as a form of scansion that echoes rap, R&B or the current fusion between hip-hop and pop, which is part of the musical background and that of younger generations. The album is thus marked by contemporary electronic orchestrations, in which he drops his favorite instrument, the piano, and his digital collage technique to use more extensive synth melodies, enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, you can hear slight digital tones of auto-tune, which Ezéchiel uses sparingly and inventively. Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song", sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing, which does not come from rap, but rather from jazz, Ezéchiel's first love.
CORPS DOUBLE (FRANCE)
CAT #: CORPS 002CDGASC, JULIEN Re Eff CD
Originally Re Eff (pronounced "Ri Èf") was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs's method. It was also Julien Gasc's response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time and a piano. For a long while, it hadn't been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he'd composed for steel guitar pedal, that Julien Gasc sketched the first draft of "Ce soir les bouteilles dansant" (Tonight the Bottles Are Dancing). This was combined with a version of "Rosario Bléfari", recorded on an inexpensive Casio synthesizer. These were Re Eff's baby steps. While everything was at a standstill, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren't answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed "Re Eff". The name comes from "re" (re-) and "effacer" (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the "g". Like its title, a kind of serious joke, the album is one long interplay between humor and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements. Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in "La scie de la vision modern" (The Saw of Modern Vision), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp's Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian. Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined ("À travers le regard de l'indienne" / "Through the Amazon's Eyes"), the theme of enclosure and passion ("Amour velours" / "Velvet Love"), melodrama ("Délivranc"), and romantic novella ("Tout ne peut pas nécessairement donner quelque chose" / "Not Everything Leads to Something"). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events -- his own and those of the world -- in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
CAT #: CORPS 002LPGASC, JULIEN Re Eff LP
LP version. Originally Re Eff (pronounced "Ri Èf") was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs's method. It was also Julien Gasc's response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time and a piano. For a long while, it hadn't been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he'd composed for steel guitar pedal, that Julien Gasc sketched the first draft of "Ce soir les bouteilles dansant" (Tonight the Bottles Are Dancing). This was combined with a version of "Rosario Bléfari", recorded on an inexpensive Casio synthesizer. These were Re Eff's baby steps. While everything was at a standstill, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren't answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed "Re Eff". The name comes from "re" (re-) and "effacer" (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the "g". Like its title, a kind of serious joke, the album is one long interplay between humor and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements. Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in "La scie de la vision modern" (The Saw of Modern Vision), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp's Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian. Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined ("À travers le regard de l'indienne" / "Through the Amazon's Eyes"), the theme of enclosure and passion ("Amour velours" / "Velvet Love"), melodrama ("Délivranc"), and romantic novella ("Tout ne peut pas nécessairement donner quelque chose" / "Not Everything Leads to Something"). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events -- his own and those of the world -- in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
COSMIC ROCK (ITALY)
CAT #: COSMR 010LPMER-DA Long Burn The Fire LP
Reissue, originally released in 1972. Once there was Black Merda, such a funny a name if you happen to have any Italian heritage. To be true, that was meant as "Black Murder", but something went wrong along the way. For their second album the proto black rock band changed their name, turning simply into Mer-da. Long Burn The Fire was their last effort ever, soon came darkness and all of a sudden the group disbanded, before being praised in the early 2000s as forerunner of a young black generation. Officially a funk combo the band shared more than a moment with The Jimi Hendrix Experience and George Clinton/Funkadelic. Their acid-fuzz numbers brought similarities with early '70s psychedelic nomads, while some vocal harmonies had a more contemporary late-60s soul vibe. Coming from Detroit rock city, they became sort of a local legend.
CAT #: COSMR 011LPRICHARD TWICE Richard Twice LP
Reissue, originally released in 1970. Fuzz guitars, organ, celestial vocal harmonies, a single effort and then -- eternity (or obscurity if you look at the other side of the coin). In 1968, leader Richard Atkins -- Richard Manning his artistic partner and co-writer, hence the name -- was building toward success, his musical adventures and philosophy not that far from the likes of The Byrds or the more eccentric Simon & Garfunkel. He'd won a contract with Mercury Records, and recorded with the Wrecking Crew members, a group of Los Angeles session musicians famous for their work with the Beach Boys, Elvis, Frank Sinatra, and hundreds more. But stage fright triggered a disastrous make-or-break performance in a small Hollywood nightclub, and everything abruptly fell apart. Atkins gave up music in the prime, and for 50 years he refused even to listen to a radio, so painful were his memories of a career he was convinced could have been. Featuring top-notch backing from musicians such as Drake Levin (Paul Revere & the Raiders), Larry Knechtel (Bread), Mark Tulin (the Electric Prunes), and Rusty Young (Poco), the album -- nonetheless -- it's bound to appeal to all fans of high-quality early '70s US pop-rock. In 2017, the short history of this unlucky but brilliant combo was featured in a short, animated movie of ten minutes.
COULDN'T CARE MORE (GERMANY)
CAT #: NT 014EPSUPERPITCHER/REPEAT ORCHESTRA Superpitcher Meets Repeat Orchestra 12"
"Monks In A Club" from the Repeat Orchestra's album Infamous Lost Tracks (NT 002LP) is a perfect example of elegant dancefloor understatement, smooth, minimalistic, and groovy as hell; no wonder that Superpitcher got thrilled and created not a remix but his own track inspired by Repeat Orchestra, reworking the essence of "Monks In A Club". And Superpitcher did what only Superpitcher can: "Monks In The Sky" is an epic ride, expanding, stretching, ebbing and flowing, ten minutes of levitating groove hypnosis that goes in depth. Fascinating.
CAT #: COUNT 027EPINLAND Namsan 12"
Four new undeniable club burners from Counterchange label head Inland. Inland's seventh solo release on his home label is the latest in a decadelong legacy of enduring productions under the Inland alias. All tracks operate at 138 bpm, exploring biting synth lines, psychedelic overtones, tribal techno attitude, and mechanical rhythm programming.
CAT #: DDCT 005LP
FILE UNDER: HIPHOPDEMIAN SKY A Kraut Tale LP
Demian Sky is a meticulous beatmaker, experienced musician, committed record store manager, passionate DJ as well as excessive record collector and music enthusiast. His instrumental hip-hop debut A Kraut Tale is a narrative sound journey on 18 tracks. The song structures, the musical concept and the overall atmosphere of the record show very clearly that his influences are not only in hip-hop, but also in psychedelic and prog rock of the '60s and '70s. There are also some references to works of DJ Shadow, Dan The Automator, Cut Chemist, Gaslamp Killer, and such. It is all the more astonishing that, contrary to possible expectations, all samples come from old German Schlager and folk music records. The result is not a loose collection of individual pieces of music, but rather a coherent album with its own dramaturgy in two chapters.
CAT #: DKR 213LPVA Roots from the Record Smith LP
"Ivan 'Lloydie Slim' Smith is one of the unsung movers and shakers of 1970s reggae. Slim worked for a time as both in-studio producer & record promoter for Bunny Lee and Channel 1, the two biggest and most significant producers of the 1970s. At the same time, he quietly built his own catalog and released a relatively small but very high quality-barrage of his own productions. These were released across many different labels, both his own and some belonging to his friends and collaborators. Slim moved to New York at the end of the '70s, and continued producing into the 1990s. We have issued some of his work before, but now we present the first ever compilation of Slim's work, featuring his most classic tunes, all taken from master tapes for proper sound, and in a lovely two-sided hand silkscreened jacket. Watch this site, because there's much more to come, released & unreleased, from the Record Smith himself!"
CAT #: DKR 258EPYABBY YOU King of Kings/Oh City of Zion 12"
"Back in 2014, we had the privilege of helping pioneering US reggae label Shanachie Records compile the rarities portion of their terrific Dread Prophecy three-CD collection of Yabby You music. From the start, we knew one track that had to be included was the killer 'Oh City of Zion', an alternate vocal on the 'King Pharoah Plague' rhythm which we had heard on a dubplate years before. Luckily we were able to get this included but even better was that Shanachie was able to locate another unreleased mix of this tune on tape, called 'King of Kings.' Both tunes ended up on the CD set, and we had always intended to issue them on vinyl after the release of the CD. Time flies and eight years went by, but here they are! Not much needs to be said about the music of Yabby You and the myriad of brilliant mixes it received at King Tubby's studio... if you're on this page you should know. But here's two more killer pieces to enjoy. Special thanks to Shanachie, long time soldiers in the business, for helping bring these tunes to light."
DIRT CREW (GERMANY)
CAT #: DIRT 138EPCLIVE FROM ACCOUNTS Pearls EP 12"
Exactly one year after his first release on Dirt Crew and two very successful records on his own new imprint Income Trax and the New York based Razor-N-Tape label. Clive has been consistently growing his following this past year and refining his sound and production. So now the label is truly excited to welcome him back, especially as this release will also be on a limited 12" vinyl. The opener "Pearls" features the amazingly talented London based musician/composer Jessica Roch on violin and vocals. It's an uplifting electronica meets deep house track that shines with positivity and beautiful melodies based on an analogue synth foundation by Clive himself. Truly a new addition to Clive's musical language. The A2 track "4 Time" is a swinging groover featuring a lush deep beat topped with piano and strings stabs and consisting of great funk all over. Followed be the super fun "Rough and Tough" as first track on then B side. Clive really delivers a new summer anthem here. Dancefloor happiness guaranteed. As a treat for all fans, the label decided to give "Gravitate" the well-deserved vinyl spot as the closing track to this great new record. This jam got massive support over the last months and is Clive's best performing track on the digital platforms. Here the track is remastered for vinyl. All tracks have been mastered by Salz Mastering in Cologne. Art and Photography by Break 3000.
CAT #: DIS 106LPLUNGFISH Indivisible LP
"Lungfish's fifth full-length LP, released in 1997. This LP was re-issued in September 2012. The current pressing is on blue vinyl. Personnel: Daniel Higgs - vocals; Asa Osborne - guitar; Sean Meadows - bass; Mitchell Feldstein - drums."
CAT #: DC 618LPBISHOP, SIR RICHARD Tangier Sessions LP
2022 restock; LP version. "The tone of the guitar and Sir Richard's gentle, loving touch with it hold forth from the first moment of Tangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick's all over the neck in the early going while sorting through the dynamics of the instrument -- in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! Towards the end of the first side of Tangier Sessions, Sir Richard and guitar begin to chill out and cut loose in a different way -- arriving in the moment that was imagined for them, they stretch out, finding themselves in open space with fewer changes. This is a place where a player like Sir Richard Bishop can relax while remaining totally focused and present, hearing what the guitar and he are capable of in real time. The discoveries of side one give way to the trilogy of songs that comprise the second side, and the issues presented by 'Mirage' are revisited from another angle, another spot on the map in 'International Zone,' leaving finally a sense of journey completed in the serene moments of 'Let It Come Down.' The narrative that builds as a function of this (noble)man-guitar dialogue gives Tangier Sessions a visceral punch that makes for a singular listening experience, even in the crowded realm of solo acoustic guitar albums. Nobody plays the guitar like Sir Richard Bishop -- and on Tangier Sessions, he's found a guitar that nobody but him plays either."
CAT #: DC 629LPDREYBLATT, ARNOLD Nodal Excitation LP
2022 restock. "By the late '80s most of the burgeoning minimal underground had been forgotten, especially one amazing character, Arnold Dreyblatt. Dreyblatt only had one record, Nodal Excitation (on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, where he concentrated on his other activities, making only two more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock that any of the others combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early '60s. Indeed, in the early '70s after being in school in Buffalo, where Conrad taught, Dreyblatt moved into Manhattan to work for Young, where he witnessed first-hand, and listened first-ear to those legendary recordings of the Theatre of Eternal Music. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm. Dreyblatt couldn't get the rock singles he'd grown up with out of him, and couldn't become the full-on new-music man that seemed to be a requirement in the '70s, and it wasn't until the '80s that the fence could be straddled, if not knocked over. It was time to start a band. In 1998, dexter's cigar were on the scene, excavating the valuable stuff from that semi-recent past for Nodal Excitation's first-ever appearance on CD. It brought it into a lot of new ears -- but times have changed and so have the ears. So what you have here is the first ever LP reissue of Arnold Dreyblatt's freshman record, a slice of minimal history that is STILL as potent now, if not more, as it was in '98 and '81 before it. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face."
CAT #: DC 859CDCALLAHAN, BILL YTI?A?? CD
"'And we're coming out of dreams / And we're coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTI?A??. Right out the gate, he's standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. Bill's got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might -- but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill's voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they're invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Bill's lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. On YTI?A??'s inner sleeve, alongside his lyrics, Bill celebrates the 'exhilaration and dread' of cover artist Paul Ryan's paintings."
CAT #: DC 859CSCALLAHAN, BILL YTI?A?? Cassette
Cassette version. "'And we're coming out of dreams / And we're coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTI?A??. Right out the gate, he's standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. Bill's got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might -- but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill's voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they're invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Bill's lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. On YTI?A??'s inner sleeve, alongside his lyrics, Bill celebrates the 'exhilaration and dread' of cover artist Paul Ryan's paintings."
CAT #: DR 10821-2LPGROSSMANN, MURIEL Natural Time 2LP
Muriel Grossmann's album from 2016 Natural Time released for the first time on a black, double vinyl in a thick old style tip-on gatefold outer sleeve on her own imprint Dreamlandrecords. This record marked a beginning for Grossmann in terms of direction and it includes a bonus composition "Inner Fire," recorded especially for the vinyl release. "As we began this task, we realized that we would need another song to fit in with the vinyl format. This compelled me to imagine how I could add something worthy to a record that is a complete journey in itself from beginning to end. As it turned out, composing and recording the extra track went as smooth as honey and I hope that you all enjoy this additional piece of music. I believe it adds an interesting twist and perhaps suggests what is yet to come. I am very thankful for this opportunity. I also want to give thanks to all you wonderful listeners and supporters for staying with us all this time. You are the reason we pour our hearts into this music." -- Muriel Grossmann, September 2021, Ibiza Manufactured/distributed by RR Gems.
FAR OUT RECORDINGS (UK)
CAT #: FARO 194X-LPAZYMUTH Fenix (Flame Splattered Vinyl) LP
Flame splattered vinyl. Originally released in 2016. Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks Azymuth, have recreated the energy of those spellbinding seventies sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship which, coupled with their endless desire for experimentation and improvisation, has resulted in a ten-track journey encapsulating the full spectrum of Azymuth's brilliantly colored expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes!"The first album in five years for the Brazilian jazz-funk heroes, and it's as catchy, cosmic and sun-soaked as the seventies studio sessions that made their name." --Evening Standard"This record is testament to a sound which Azymuth helped build from the ground up. The musical ideas at the band's core have stood the test of time remarkably well and remain as enjoyable and relevant as they ever were." --Clash
CAT #: FARO 233CDBERLE, BRUNO No Reino Dos Afetos CD
Maceió, the capital of Brazil's Alagoas state on its sprawling east-coast, is home to pastel colored colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle. With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius. "It's an album that was built from my desire to find beauty", Berle explains -- his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail. On the contemporary R&B inspired lead single "Quero Dizer" -- produced by Berle and longtime friend and collaborator Batata Boy -- the swirling, lo-fi, kalimba, and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle's honey-soaked vocal melody. Powerfully intimate, "O Nome Do Meu Amor" (My Love's Name) is a guaranteed tearjerker, with Berle's stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment. Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends' songs on the album, including João Menezes's "Até Meu Violao", the album's beautifully laidback sunshine soul opener, which has all the charm of early-70s João Donato. Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo's contemporary music scenes -- collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover -- No Reino Dos Afetos is as musically diverse as Bruno himself. It's hazy indie rock ("É Preciso Ter Amor"), calming ambient and field recording ("Virginia Talk") as well as Berle's own take on West African high life ("Som Nyame"). Instantly recognizable as a truly special artist, Berle's character fills every corner of the sound, which is unsurprising considering he played most of the instruments.
CAT #: FIGURE X033EPKRISTIAN Introspection 12"
Kristian is a new anonymous project on Figure Music, exploring a different kind of sound that is based on subtly nuanced live jams and oriented towards a slightly rawer house and dubby-related style. Opener "Doubtful" makes a strong first impression as Kristian weaves together lush, cheerful chords with a tight yet rolling bass momentum, carrying the track forward effortlessly. In stark contrast, "Dry Dub" is groove reduced to its bare essence. A straight-up drum track made of sparse elements that confidently unfold their subliminal power over time. The flip holds cuts that really want to spring to life. Swirly, dubbed-out sounds create a colorful and dynamic palette, rapidly changing in movement and direction. "Insider" riffs on heavily animated, filtered synth action, while closing track "Worthiness" goes deep and spacey, oozing with warm machine charm, squelching acid, and bubbly bass.
CAT #: FILM 002LPREICH/TERRY RILEY, STEVE Six Pianos / Keyboard Study #1 LP
2022 repress; LP version. Includes download code. After the widely noticed performance at the "Acht Brücken Festival 2016" at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich's "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich's composition but still far more than just that - it is a modern approach to his idea behind it. The basic idea came up at the beginning of the '70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where "Six Pianos" developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form "Six Pianos" in dignified modernity and top it off with today's sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture - "Six Pianos" the way it should be looked at in 2016. Jan Brauer mixed "Six Pianos" in the studio while Lukas Vogel provided delays for the "Keyboard Study #1". "Keyboard Study #1" by Terry Riley is a worthy companion for Reich's composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach's assumption: "Terry Riley's and Steve Reich's music are open doors for pianists socialized by pop music and their audience."
FREUDE AM TANZEN (GERMANY)
CAT #: FATXXIV 001EPVA XXIV - Chapter One 12"
Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will be released, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. Three compilations with four tracks provide the half of 24. The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future. Chapter One, as the first of three, comes with four deep house tracks. The A-side comes with a focus on broken beats and versatile arrangements. Module One delivers a dreamy ride containing a stunning vocal sample. Rising Sun has provided a superb collection of samples that have emerged into a track, that'll light up moods everywhere its played. On the flip side in contrast, Chuck Boris has contributed the catchy house roller "Put A Mask On Your Face". Soela rounds of the first edition off with a very emotional yet forward thinking production, making it a gem your record bag should not miss.
FUTURE SHOCK (ITALY)
CAT #: FS 4476LPVA Psychedelic Picnic: A Breath Of Fresh Air LP
Reissue. Psychedelic Picnic: A Breath Of Fresh Air is a sampler issued originally by the Harvest Records label, originally released in 1970. The release is remarkable for including the full-length version of the unreleased Pink Floyd song, "Embryo". Features The Pretty Things, Syd Barrett, Michael Chapman, Roger Waters, Third Ear Band, and Pink Floyd. Silver vinyl.
GOODFELLAS EDIZIONI (ITALY)
CAT #: 9788899770266TORCINOVICH, MATTEO 1977 - Don't Call It Punk Book
1977 is the year of the punk movement's enormous productivity, the moment was characterized by a huge musical and aesthetic impact with its epicenter in London. '77 is recounted through a detailed chronicle that day by day reminds you of the sensational news events -- often out of proportion -- by the British scandal press, the countless record releases, shows, books, fanzines, and reviews in the leading Anglo-Saxon music magazines. The publication is a very rich almanac enriched by a collection of anecdotes generously told to the author, Matteo Torcinovich, by those who lived through that era firsthand. Musicians, writers, photographers such as Gaye Black of the Adverts, legendary Roxy Club founder Andrew Czezowski, Ana da Silva of the Raincoats, photographer Peter Gravelle, Lora Logic of X-Ray Spex, journalist Kris Needs, and many more... 1977 - Don't Call It Punk provides research and insight that will guide you through an explosive artistic/musical mix generated in this period. 20x25; 496 pages with pictures and illustrations; text: English/Italian.
CAT #: GOO 008LPSONIC YOUTH Sonic Youth 2LP
2022 repress. "Sonic Youth's eponymous debut EP, reissued in a deluxe double-LP edition on the band's own Goofin' imprint, was recorded in late 1981 at Radio City Music Hall in NYC and originally released on composer Glenn Branca's Neutral label. The album is loosely based on compositions the newly formed group had performed at that year's week-long Noisefest event (and remains the only recorded document of an early line-up featuring actor Richard Edson on drums). The newly remastered vinyl also features extra live material from a 1981 gig, and a track from a previously unheard studio session."
CAT #: GOO 012LPSONIC YOUTH The Destroyed Room: B-Sides And Rarities 2LP
2022 repress. "New York's most influential avant-garde rock band, Sonic Youth, follow up their critically acclaimed 2006 release, Rather Ripped, with a special set sure to please fans and completists. The Destroyed Room: B-Sides And Rarities, a collection of near-hidden Sonic Youth gems hand-picked by the band, brings together songs from throughout the band's tenure at Geffen Records. Focusing on tracks previously available only on limited-edition compilations, vinyl-only releases, or as B-sides or international singles, The Destroyed Room also features material that has never before been released. This deluxe, double-vinyl LP edition is being released on the band's own Goofin' Records imprint with a CD version available via Geffen."
HEAVY PSYCH SOUNDS (ITALY)
CAT #: HPS 238CDSONIC FLOWER Me And My Bellbottom Blues CD
Sonic Flower's new album Me And My Bellbottom Blues is full of '70s feelings. It's heavy but more bluesy taste than ever. New guitarist Fumiya Hattori is a young bluesman. He uses slide bar and acoustic guitar too. His guitar style's width is huge. Regarding songwriting, of course Tatsu Mikami wrote the songs, as always. A not only heavy but also "down to earth" feeling. You can also enjoy tons of riffs by this riff master. New drummer Toshiaki Umemura made a heavy and groovy sound. The biggest difference from the previous album the singer on this album. Kazuhiro Asaeda, the original Church Of Misery singer, sang in their early release Vol.1. Mixed by Japanese doom guru Yukito Okazaki (Eternal Elysium).
CAT #: HPS 238LPSONIC FLOWER Me And My Bellbottom Blues LP
LP version. Sonic Flower's new album Me And My Bellbottom Blues is full of '70s feelings. It's heavy but more bluesy taste than ever. New guitarist Fumiya Hattori is a young bluesman. He uses slide bar and acoustic guitar too. His guitar style's width is huge. Regarding songwriting, of course Tatsu Mikami wrote the songs, as always. A not only heavy but also "down to earth" feeling. You can also enjoy tons of riffs by this riff master. New drummer Toshiaki Umemura made a heavy and groovy sound. The biggest difference from the previous album the singer on this album. Kazuhiro Asaeda, the original Church Of Misery singer, sang in their early release Vol.1. Mixed by Japanese doom guru Yukito Okazaki (Eternal Elysium).
CAT #: HPS 238LTD-LPSONIC FLOWER Me And My Bellbottom Blues (Yellow Vinyl) LP
LP version. Yellow vinyl. Sonic Flower's new album Me And My Bellbottom Blues is full of '70s feelings. It's heavy but more bluesy taste than ever. New guitarist Fumiya Hattori is a young bluesman. He uses slide bar and acoustic guitar too. His guitar style's width is huge. Regarding songwriting, of course Tatsu Mikami wrote the songs, as always. A not only heavy but also "down to earth" feeling. You can also enjoy tons of riffs by this riff master. New drummer Toshiaki Umemura made a heavy and groovy sound. The biggest difference from the previous album the singer on this album. Kazuhiro Asaeda, the original Church Of Misery singer, sang in their early release Vol.1. Mixed by Japanese doom guru Yukito Okazaki (Eternal Elysium).
CAT #: HPS 238ULTRA-LPSONIC FLOWER Me And My Bellbottom Blues (White/Red/Blue Vinyl) LP
LP version. White/red/blue vinyl. Sonic Flower's new album Me And My Bellbottom Blues is full of '70s feelings. It's heavy but more bluesy taste than ever. New guitarist Fumiya Hattori is a young bluesman. He uses slide bar and acoustic guitar too. His guitar style's width is huge. Regarding songwriting, of course Tatsu Mikami wrote the songs, as always. A not only heavy but also "down to earth" feeling. You can also enjoy tons of riffs by this riff master. New drummer Toshiaki Umemura made a heavy and groovy sound. The biggest difference from the previous album the singer on this album. Kazuhiro Asaeda, the original Church Of Misery singer, sang in their early release Vol.1. Mixed by Japanese doom guru Yukito Okazaki (Eternal Elysium).
HEY SUBURBIA (ITALY)
CAT #: SUBURBIA 031LPRAMONE, BOBBY Rocket To Kingston LP
Originally released in 2020 and widely acclaimed as "The Record Of The Year" in the punk rock community worldwide, Bobby Ramone's legendary self-titled debut gets the Hey Suburbia reissue treatment. Includes 2 bonus tracks. Color vinyl; printed inner sleeve; edition of 500. "Best release of the last decade." --CJ Ramone
HIVE MIND RECORDS (UK)
CAT #: HMR 020CSASMAR, YARA Home Recordings 2018-2021 Cassette
Yara Asmar is a 25-year-old multi-instrumentalist, video artist, and puppeteer currently living in Beirut with her cat, Mushroom. Hive Mind Records bring you this wonderful debut album of music she recorded at home on cassettes and a mobile phone over the past few years. On it you'll hear her play a range of instruments including the piano, her grandmother's old accordion which she found in the attic of her grandparent's home in Lebanon, the metallophone, synth, and various deconstructed and disassembled toy pianos and music boxes. You'll also hear her field-recordings of hymns sung in churches around Lebanon which Yara has turned into waltzes. These beautifully melodic works contain recognizable elements of classical music wrapped in layers of tape hiss, synth wash, reverb, and delay, and disturbed by the metallic percussive sounds of the dissembled music boxes. The atmosphere of melancholy that pervades the album should be familiar to anyone living in the 21st century. All music composed, performed, recorded and, produced by Yara Asmar at her home in Beirut. Mastered by Marc Teare. Photography by Yara Asmar. Design by Marc Teare.
HONEY PIE RECORDS (ITALY)
CAT #: HONEY 060LPVA We've Got Jazz: Sampling Jazz In A Hip Hop World LP
A deep dive into the art of sampling old jazz records to produce up to date beats. Here you'll find all jazz originals which inspired and provided the basis for hip-hop classics of: KRS-One, Pharcyde, A Tribe Called Quest, De La Soul, Madlib, Wu-Tang Clan, Anderson .Paak, Action Bronson, Blu, and Mac Miller. An outstanding selection, ten tracks from the golden age of jazz including artists such as Donald Byrd, Clifford Brown, Ahmad Jamal, Miles Davis & Milt Jackson, Thelonious Monk, Stan Getz & Luiz Bonfa, Howard Roberts, Cal Tjader, Six Boys in Trouble, and Duke Ellington & John Coltrane. If you want to get to the jazz roots of rap music and hip-hop culture, this is the place to start.
CAT #: HONEY 064LPSCOTT, RAYMOND Powerhouse LP
Visionary composer Raymond Scott was a pure genius largely known thanks to the massive recycling and adaptation of his music for cartoons. "Powerhouse" the title track of this beautiful collection is one of his best-known compositions for Warner Brothers animated cartoons. Scott's Quintette recorded "Powerhouse" in New York on February 20, 1937. The first use in a cartoon occurred in the 1943 Looney Tunes short "Porky Pig's Feat" and since then, you can count hundreds of apparitions, versions, and quotes, from Bugs Bunny to The Simpsons via Kronos Quartet and Don Byron's versions. In other words: a true classic piece of music beyond time and genres. The Raymond Scott Quintet: Raymond Scott - piano, celeste; Dave Wade, Russ Case - trumpet; Pete Pumiglio - clarinet; Dave Harris - tenor saxophone; Lou Shoobe, Fred Whiting - bass; Johnny Williams - drums.
HORISONTAL MAMBO (NORWAY)
CAT #: MAMBO 008LPMOOGY COAST Koherencja LP
Fresh from his last release on Internasjonal, Das Komplex aka Marcin Lukaszewicz offers up a snapshot of his musical stylings under his Moogy Coast disguise all landing somewhere between a sun-soaked beach and a sweaty dancefloor. PS: Contains the (until now) Prins Thomas floorburner/secret weapon, "Czasami Jestem Ciekaw".
CAT #: MAMBO 009LPLOPEZ, GIORGIO Chalet Miseno LP
The Neapolitan producer makes a comeback on Horisontal Mambo with an ideal follow-up to his previous LP Palinuro Phonebox (MAMBO 006LP, 2020) and once again teams up with label boss Prins Thomas for some mixdown touches. Halfway between Italo boogie and Balearic beats, Chalet Miseno is a nostalgic ode to some '90s "estate Italiana" holidays seen through the eyes of a kid. From the catchy beats of the title track (with its roaring motorbike intermezzo) and "Dragonara Punch", to the dreamy soundscapes of "Luna Mirabilis" this album is guaranteed to be the perfect soundtrack to a hot summer (and a refresher for the long winter).
CAT #: MAMBO 010LPINNER SLEEVES, THE Reverie LP
After a long hiatus Marius Våreid returns home debuting his new The Inner Sleeves moniker. Already a mainstay on Full Pupp under his own name and in tandem with Jarle Bråthen as Ytre Rymden Dansskola (and not to mention his pioneering work in the Norwegian electronic music scene with the "Norwegian Grammy"-winning Päronsoda), Rêverie represents a new chapter in Marius's long and varied musical story. Free-floating ideas and sketches written over time, then stretched out and given a final massage by Prins Thomas.
CAT #: HOS 412LPCORTINI, ALESSANDRO Sonno 2LP
Limited restock; 2020 repress; gatefold double LP version. Alessandro Cortini is best known as the lead electronics performer in Nine Inch Nails' live unit. His recordings under his own name have gained prominence in recent years and he has become known as one of the pre-eminent Buchla masters in North America. Cortini makes a surprising departure into the 202 on his debut album for Hospital Productions -- Sonno. Sonno was recorded in hotel rooms, using a Roland MC 202 through a delay pedal, recorded direct, sometimes into a small portable speaker system. "I liked to walk around the room with a handheld recorder to hear where the sequence would sound better, turn on faucets, open doors or windows to see how the ambient sounds would interact with the MC 202/delay/speaker sound. It was very relaxing and liberating to make music this way." The result is a beautifully restrained yet oddly emotive album that's quite distinct from the overly academic approach so often undertaken by hardware-driven devotees. Mastered by Matt Colton.
CAT #: HOS 426LPCORTINI, ALESSANDRO Risveglio 2LP
Limited 2022 restock; gatefold double-LP version. Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini's words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space... it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.
IMPORT LABEL (GERMANY)
CAT #: BEC 5907113VA Shaolin Soul Episode 4 (Standard Edition) 2LP+CD
2022 repress; double LP version in standard sleeve; includes CD. Duke Ellington once said that there are two kinds of music: the good one and the bad one. With the compilation series Shaolin Soul one is always certain to be on the right side of the line since its first volume (BEC 5543356, 2018) which compiled two dozen tracks sampled by RZA and the Wu-Tang Clan. Following a second episode (BEC 5543357, 2018) and a third (BEC 5543358, 2018), the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music. Features: Esther Phillips, Al Green, Eddie Kendricks, Sylvia, Betty Wright, The Ambassadors, The Dynamics, Carolyn Sullivan, Brenton Wood, The Floaters, Faze-O, Ernie Hines, Jerry Butler, J.J. Johnson, Monk Higgins and Alex Brown, The East St. Louis Gospelettes, Jean Plum, The Staples Singers, The Sylvers, Della Humphrey, Freda Payne, and Carla Thomas.
CAT #: IF 1075CDMARTEL, SEB Saturn 63 CD
If the name Seb Martel is still unknown to you, the guitarist appears on the credits of classic albums from Tony Allen, Femi Kuti, Morcheeba, or Blackalicious. Saturn 63, his new album on InFiné is dedicated to the exploration of the electric guitar in all its nuances. This new opus made from a selection of nine guitars from the Musée de la Musique (a branch of the Philharmonie de Paris), and only enriched with the voices of his close collaborators (Camille, Sabrina Bellaouel...), unfolds on fourteen tracks a musical fresco faithful to the historical and geographical heritage of his instrument. The album includes fascinating reworks of Carl Perkins, Benjamin Britten, Chavela Vargas, or Vincent Ségal in addition to his own compositions. However, adopting a dogmatic approach, and dressing his compositions with sounds and effects collected during the recordings, Martel offers an abstract and experimental edge to Saturm 63, which transports the listener into an out of time experience. Two famous names of the French chanson, M (Matthieu Chedid) and Mathieu Boogaerts joined Martel to close the album with the snapshot of a speechless improvised session. Also features Cindy Pooch, Martin Gamet, Vincent Ségal, Nicolas Martel, Vic Moan, and Marc Anthony Thompson (aka Chocolate Genius). CD version includes one additional track.
INTERNATIONAL FEEL (URUGUAY)
CAT #: IFEEL 077EPRUF DUG Manctalo Beach 7"
Manchester producer, DJ, and dancefloor spirit guide Ruf Dug gets fruity on his Korg DW8000, for this homage to Manctalo pioneers Red Laser Disco who have revitalized the Italo sound over the last decade. Given that Ruffy lives on the same street as Red Laser head honcho "Il Bosco" it's unsurprising that his latest release is heavily influenced by his noisy neighbor's antics. Manctalo Beach has gone through several versions over the years to arrive, like a chilled Bianco, at the crisp beauty you hear today. Packed with chunky bass arpeggios, pixelated pitch-bent melodies and freeze-frame drum fills, the A-side conjures images of coastline sunsets and waterski waves. Meanwhile on the flip, the bonus beats proceed in a more dubbed disco direction, with acres more space, cascading delays and tripped-out breakdowns. One for your speedboat.
CAT #: JL 047EPLEVY, MICHAEL Idle on a Corner 7"
"Previously unreleased on vinyl. Raw, loud and dubplate style, here's some more '87 digital madness, another killer rhythm from Jah Life's prolific late '80s production period seeing release for the first time. Three tuff vocal cuts from Michael Levy, King Kong and Conroy Smith, all backed with the same stripped-down version. As good a release for '80s digital diehards as we've ever had, turn it up."
CAT #: JL 048EPKING KONG Hold Your Prestige 7"
"Previously unreleased on vinyl. Raw, loud and dubplate style, here's some more '87 digital madness, another killer rhythm from Jah Life's prolific late '80s production period seeing release for the first time. Three tuff vocal cuts from Michael Levy, King Kong and Conroy Smith, all backed with the same stripped-down version. As good a release for '80s digital diehards as we've ever had, turn it up."
CAT #: JL 049EPSMITH, CONROY Don't Touch the Rock 7"
"Previously unreleased on vinyl. Raw, loud and dubplate style, here's some more '87 digital madness, another killer rhythm from Jah Life's prolific late '80s production period seeing release for the first time. Three tuff vocal cuts from Michael Levy, King Kong and Conroy Smith, all backed with the same stripped-down version. As good a release for '80s digital diehards as we've ever had, turn it up."
CAT #: JL 050EPMCKAY, FREDDIE Pretty Looks 7"
"First time on 7". First time on 45 for this lesser-known tune, Freddie's classic 'Pretty Looks' sung on the same heavy Roots Radics rhythm used for Barrington Levy's classic 'Englishman.' Another one from the fruitful Wright/Lawes partnership that never saw its intended NYC release until now."
KALITA RECORDS (UK)
CAT #: KALITA 12021EPSWEET CLOVER You're What I Need 12"
Kalita Records presents the first ever official reissue of Sweet Clover's highly sought-after 1979 disco single "You're What I Need", backed by an unreleased extended mix and the equally impressive "Sweet Talk", sourced from the original master tapes. With original copies released in a run of just 300 copies and now hitting top three-figure sums on the rare occasion that they come up for sale, Kalita finally serves up a chance to obtain this lo-fi disco masterpiece once again. Accompanied by a never-before-seen photo of the band and liner notes based on interviews with writer and producer Willie McClain, this is another no-brainer from the Kalita camp.
CAT #: KR 024LPXENAKIS, IANNIS La Legende d'Eer LP
Individual LP from the Electroacoustic Works boxset. The second release in the Perihel series is one of the most famous electroacoustic compositions by Iannis Xenakis. When Iannis Xenakis (1922-2001), who had fought against the occupation as part of the communist resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. Xenakis not only studied composition with Olivier Messiaen and became one of the most innovative composers of the 20th century, he also worked as assistant to Le Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels, 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathématique et Automatique Musicales), which give his music an unprecedented aesthetic and as The Guardian would say, a "shocking otherness". The most famous works of Xenakis, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis, Concret PH, Bohor and La Légende d'Eer where Xenakis integrated his stochastic synthesis sounds for the first time. As legendary as this piece is, there is an impenetrable thicket of versions and stories around La Légende d'Eer, it exists in different releases, with wrong sample rates or digitized backwards. This version uses the 8-track-version that Xenakis himself presented at Darmstädter Ferienkurse in August of 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by Martin Wurmnest who tried to preserve the spatial movements as perceptible as possible. La Légende d'Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day. Mixed by Martin Wurmnest, mastered & cut by Rashad Becker. Includes insert with liner notes by Reinhold Friedl.
CAT #: KR 044LPXENAKIS, IANNIS Persepolis LP
Individual LP from the Electroacoustic Works boxset. After La Légende d'Eer in 2016 (KR 024LP), the Perihel series presents one of the milestones of electroacoustic music: Iannis Xenakis's mind-blowing, 54-minutes oeuvre Persepolis. Persepolis is the longest electroacoustic composition by Iannis Xenakis (1922-2001) who ranks among the most influential 20th century avant-garde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance -- Xenakis's so-called "polytopes" -- which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches, and 59 loudspeakers to project the music in an open-air situation. Xenakis had realized Persepolis on 8-track analog tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series "Prospective 21e Siècle" in 1972, adding the new subtitle "We bear the light of the earth", his most hymnal title ever. Out of print for decades now, the LP became -- especially the Japanese edition from 1974 -- one of the most expensive collector's item of electroacoustic music. There were some later CD versions with different durations -- too long due to a wrong sample rate, others shortened by three minutes due to other reasons. The Perihel series now presents a new version: mixed from the original master 8-track tapes by longtime zeitkratzer sound engineer Martin Wurmnest and mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin -- the same experts who had already taken care of the 2016 Karlrecords release of La Légende d'Eer, another milestone composition among the works of the Greek-French avant-garde composer. Previous releases in the Perihel series, curated by Reinhold Friedl: Guy Reibel's Douze Inventions en Six Modes de Jeu (KR 028LP, 2015); Iannis Xenakis's La Légende d'Eer (KR 024LP, 2016), John Cage's Complete Song Books (KR 029LP, 2016). 180 gram vinyl; Includes insert and download code.
CAT #: KR 089LPXENAKIS, IANNIS Early Works: Diamorphoses / Concret PH / Orient Occident / Bohor LP
Iannis Xenakis's early electroacoustic works define already the compositional space he is using later in his mature, almost one-hour long works like Persepolis or La Légende d'Er. After arriving in Paris as a Greek refuge in 1947, Xenakis quickly found a work as construction engineer with the architect Le Corbusier. He tried in vain for several years to become a member of the Groupe De Musique Concrète (GRM) and thus to gain access to the electroacoustic studios at the French radio. Pierre Schaeffer accepted him only when not only Messiaen pushed for it, but also the conductor Hermann Scherchen lobbied for him. Diamorphoses was his first attempt at composing musique concrète and was to remain his only one. He carefully recorded small sounds and worked on them systematically in weeks of tape-snapping. But he also combined sound material that presumably came from the GRM's Sonothèque, and here his fable for powerful sound masses was already apparent. Concret Ph originally was a sound installation: as Le Corbusier's assistant, he had been allowed to completely design the architecture of the pavilion for the Brussels World's Fair 1958, but his music was only to serve as a break filler between the repetitions of the main attraction: the Poème électronique by Edgar Varèse with projections by Le Corbusier. Under the title Interlude Sonore, Xenakis created a tape consisting of the most minimal tape snippets sticked together and got something that sounded almost like the tickling of glowing coal. Xenakis anticipated granular synthesis in analog tape form: the combination of little sound grains giving birth to a new sound. Orient Occident is an extract from music for a documentary film about the encounter of Eastern and Western cultures, shortened by about half. Xenakis had also used non-Western music for it, most of which is absent from the electroacoustic piece -- and yet even here one finds a reference to his many adaptations of ethnological music. Bohor caused -- as Michel Chion put it -- the "greatest scandal of electroacoustic music" -- on the occasion of its performance 1968 at the GRM in Paris. Curiously, hardly anyone noticed the piece when it was premiered in 1962. Xenakis simultaneously played four stereo tapes at extreme volume on eight speakers positioned around the audience, creating an ecstatic sound experience: close-ups of Persian jewelry are used, and large thunderbolts and stringed instruments like those built at the GRM by the Baschet brothers at the time the piece was written.
CAT #: KR 090LPXENAKIS, IANNIS Les Polytopes I: Hibiki Hana-Ma / Mycenae Alpha / Polytope De Cluny LP
"Hibiki Hana-Ma" was created in 1969 for the Steel Pavilion of the Japan Iron and Steel Federation at the Expo 1970 in Osaka as musical part of a multimedia show. Even though the work does not bear the designation in its title, it can be already regarded as a Polytope: it was created for a specific architectural location, lasers and mirrors have been installed: a light choreography by the Japanese artist Keiji Usami accompanied the spectacle. This concept of synchronized laser and light choreographies -- now directed by Xenakis himself -- can soon be found in Polytope de Cluny 1972 and 1978 again in the Diatope (La Légende d'Eer). But Hibiki Hana-Ma is also a hermaphrodite in another sense: on the Japanese record release from 1970 Seiji Ozawa is credited as conductor of the Japan Philharmonic Symphony Orchestra and Kinshi Tsuruta as Biwa-soloist (a traditional Japanese string instrument). By listening one quickly realizes that the music is not orchestral or Biwa music, but only uses electronically processed recordings as source material for an electroacoustic music. Xenakis's first explicit Polytope (Polytope de Montreal 1967) was originally conceived for four orchestras, and then transferred to tape for practical and financial reasons. The first concept of a Polytope was an installation with live-orchestra-music -- as the tape version is a recording without further electroacoustic treatment, it is not included in this release. Like Hibiki Hana-Ma, Mycenae Alpha is also a special case but for another reason: it was composed for his last Polytope (Polytope de Mycènes 1978) and consists exclusively of synthetic sounds, realized with his graphic system UPIC. The result is rough and sober and marks the beginning of his last electroacoustic compositions, shifting back to purely electronic music. With Hibiki Hana-Ma and Mycenae Alpha, the first side of the record vividly demonstrates the vast musical range of the Polytopes, from recorded orchestral sounds to purely electronic parts. The synthesis of the most diverse musical materials had taken place in between, especially in compositions like Persepolis (1972) and the joyful-noisy Polytope de Cluny (1972) that is presented here on Side B. Polytope de Cluny was performed several times a day for six months in Paris and was a real multimedia event: the audience could relax on pillows on the floor of an old Roman bath in the middle of Paris and listen to Xenakis's architecture of sound and light.
CAT #: KR 091LPXENAKIS, IANNIS Late Works: Taurhiphanie / Voyage Absolu Des Unari Vers Andromede / Gendy 3 / S.709 LP
Iannis Xenakis's late electroacoustic music became electronic: all sounds are synthetic "explicit computer music" as Peter Hoffmann called it. The music presented here shows Xenakis's way back from spatialized immersive music and multimedia spectacle to simple loudspeaker music. The sound does not move anymore, there are no synchronized visuals: nothing remains but structured noise. Xenakis used two inventions he had already presented in the context of the Polytopes: sounds created by stochastic synthesis in La Légende d'Eer and sound from his graphic interface transferring music into sound, the UPIC machine, in Mycenae Alpha for the Polytope de Mycènes. For Taurhiphanie and Voyage Absolu Des Unari Vers Andromède he so-to-say "painted" the music, using his UPIC machine: drawings are transferred directly into sound. Better to say: into noise! Xenakis's predilection for noise, found especially in his electronic music, became more and more obvious and even more pure and raw. Again, Xenakis was ahead of his time: what began as industrial music in England and started its triumphal procession as noise music and power electronics at the end of the eighties is found in his later electronic music in an even more radical form. At the premiere of Taurhiphanie in his last Polytope-like multimedia production with bulls and horses in a bullring in Arles, France, even the animals reacted so disturbed that the performance became a great failure. Remaining is only the digital music composition Taurhiphanie, music to intimidate bulls. Towards the end of his life -- his last composition was realized in 1997 and he died in 2001 -- Xenakis concentrated on one of his most contradictory dreams: a composer who invented such powerful overwhelming and emotional music as Xenakis thought he could teach a machine to do the same. He believed in the possibility to invent a composing machine and he worked hard on it. The computer, with the help of which he realized his last two electronic works, Gendy 3 and S.709, created random-based digital sample values and then transferred them directly into sound. Multidimensional computation of random values or changes in parameters produced similar but different pieces. Xenakis was never ideological, he simply chose the most beautiful results (the numbers in the titles probably refer to the versions).
LANTERN REC. (ITALY)
CAT #: LANR 015LPRESTRICTION Action LP
Reissue, originally released in 1984. Cult reissue from this short-lived Bristol project. Their debut four-track EP was self-released on Restriction Records in 1984 giving birth to a collective experience fueled by several members: Andrew Clarke (AMJ Almighty Groove, AMJ Dub Collective) Clive Smith, Rob Smith (co- founder of the influential trip-hop band Smith & Mighty), plus members of Zion Band. Produced by Mad Professor at London Ariwa Studios and featuring extraordinaire trombone player Vin Gordon aka Don Drummond Jr. (The Skatalites, The Upsetters) this quintessential mini-album merged the original Jamaican reggae-dub feel with a more contemporary approach, focusing on the experience of established British bands like Aswad and Black Uhuru. Fully remastered and licensed; edition of 500.
LIFE GOES ON RECORDS (ITALY)
CAT #: LIFE 028LPMARKLEY Markley, A Group LP
Reissue, originally released in 1970 on Forward Records, owned by Mike Curb. Markley, A Group is the sixth and final album by the American psychedelic rock group, the West Coast Pop Art Experimental Band. The album was released under another group name, Markley A Group, as decided by the group owner, Bob Markley. It features compositions by Danny Harris, Michael Lloyd, and Shaun Harris with lyrics by Bob himself. The content is simple and soft, reminiscent of the band's earlier work. A gently pop-psych stroke of genius.
CAT #: LIFE 029LPMUSIC BOX Songs Of Sunshine LP
Reissue, originally released in 1972 on the small imprint Westwood Recordings. Here is another magical achievement of the early '70s counterculture. Songs Of Sunshine has an intimate, predominantly acoustic flavor. Flutes, chimes, and gentle organ sounds all over the place. Tales of faraway lands, sand, sea, castles, kings, queens, and even Peter Pan dominate the scene, imposing a sort of ancestral feel. Rob Armstrong, the leader of Music Box, became a renowned luthier and you can hear the care and love of the acoustic guitar in his music. The short-lived British folk trio released just this single before vanishing. The album consists of nine acoustic folk tracks of their own material and the Bob Dylan's classic "Tom Thumb Blues".
LITTLE BUTTERFLY RECORDS (URUGUAY)
CAT #: LBR 029LPRADA & EDUARDO MATEO, RUBEN Botija de mi Pais LP
Reissue, originally released in 1987. Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn't collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released Cuerpo Y Alma (1984) and Rada, La Yapla Mata (1985), which included the classic song "Tengo un candombe para Gardel". The initiative of making this album sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings the semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo's guitar and Mateo backed by Rada's percussion. It includes a track where Mateo commands the instruments (as in "Mateo Solo Bien Se Lame") and another with Rada's solo on vocals and percussion. There are instances when Rada's band of that moment and "super-group" (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass, and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of El Kinto. All excellent songs. Botija de mi País is an exceptional and one-of-a-kind album, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence.
CAT #: LBR 032LPJULEN Y LA GENTE SOLA Julen y la Gente Sola LP
Julen Y La Gente Sola's self-titled debut album has the great virtue of not hindering or clouding the songs that for years had been becoming hits in the Uruguayan underground. It doesn't have the rawness of a live record, but it does have its immediacy and freshness. Stripped of baroque or superfluous arrangements, the ten songs that make it up sound exactly like what their audience expected, but more clearly compared to the precarious sound where Julen used to play. The album also has another enormous virtue, and it's the unconsciousness of youth, the search for an identity, without shame, modesty, or calculation. Lyrically, it's an album that hints it was written by people barely in their twenties. At times cheesy, at times rough, but always seemingly honest. Led by Federico Morosini, a prolific songwriter full of primal enthusiasm composing songs back-to-back with his cheap Creole guitar in his mother's house; supported at first by Juan Pablo Campagna on electric guitar and Marcelo Duarte on drums, eventually with Agustina Santomauro as bassist. They stood out for songs that forged subtle links that had never been crystallized in such a solid way between the Montevideo song, the Donosti sound, the twee pop bands released by Sarah Records, the noisy nineties indie bands of Matador Records, and the independent scene on both sides of the Río de la Plata, the Uruguayan collective Esquizodelia, and the Argentine label Laptra. Julen had an ace up their sleeve and it was the arrangement of their songs. While it may be easy to identify their influences, the trait of creating anthem-like songs was relatively novel. Their first compositions hold a sense of spiritual discernment, a sensibility that could only be described without belittling them, as "popular." This debut album, perfect in its imperfection, is a document, a time capsule of a period that in the face of constant technological, social, and economic changes, seems to be further and further away even though not even a decade has passed since its release. Resembling the memory of teenage years, perceived close yet unattainable from the rearview mirror that gives back a slightly idealized reflection. Red vinyl.
CAT #: LBR 077LPIBARRA, JUAN Arco LP
Juan Ibarra's jazz quintet blends hypnotic grooves, sonic landscapes, and experimentalism with a cinematic touch. Jazz fusion and avant-garde united with an unmistakable South American feel. Arco is inspired by an imaginary talk between Uruguayan musician Eduardo Mateo and Thom Yorke (Radiohead) in a bar from deep Uruguay, while drinking cane and playing chess. The talk has its focus on the search for what is our "bow" to be able to launch our "arrow". At the same time, they discuss calmly, while they think with their movements, the different transformations they go through in life, what are the natural and which ones are necessary. The album seeks a sound between the electric guitar of Martín Ibarra and the acoustic guitar of Jeremías Di Pólito, imitating the voice with the trumpet of Juan Olivera supported by the improvised bases of Andrés Pigatto on double bass and Juan Ibarra on drums, thus opening a limbo to discover between the world Uruguayan folk and jazz.
CAT #: LBR 081LPHIGGS, PAUL Tridimensional 10"
Paul Higgs is a young and very talent artist of the new generation of Uruguayan music of the 2021 century. Through Tridimensional, he builds a sophisticated work where it shows different sounds such as folk, funk, pop, and other contemporary sounds are mixed. This silver sounding piece of South American modern music is the result of experiences had by the Uruguayan musician Paul Higgs throughout his adventures in Buenos Aires, São Paulo, and naturally his native Montevideo. In Tridimensional you'll find a myriad of reflections, sonic images and references to whatever this anomalous histrionic and enthusiastic spirit has to share. It is produced by the wise, well-seasoned and also Uruguay born musician Martín Buscaglia, thus adding a graceful and firm step to the intergenerational staircase of art in Río de La Plata's ever-growing culture.
CAT #: LBR 085LPMATEO, EDUARDO La Maquina Del Tiempo, La Mosca LP
Originally released in 1989, La Mosca was the last album of the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Reissued for the first time. Produced for the multi-instrumentalist and sound engineer Hugo Jasa. Released towards the end of 1989, La Mosca was the last job by the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Although Mateo was a remarkable percussionist and was very well known for his short songs, with simple lyrics, where Uruguayan roots are mixed with Brazilian, African, Indian, and Arabic influences, on his last album, his work took a turn on a brand-new direction. Alongside the multi-instrumentalist and sound engineer Hugo Jasa, weaved together a futuristic sound, based on drum machine beats, keyboards, electronically processed both guitars and vocals to create an atmosphere through sturdy texts with references to machines, to the future, to time and the cosmos. At first received with confusion, today La Mosca continues to cause a mysterious fascination that persists and deepens through the passing of time. Includes obi and liner notes of specialist Guilherme de Alencar Pinto.
LONDON RECORDS (FRANCE)
CAT #: LMS 5521698ORBITAL 30 Something 4LP BOX
2022 restock; four LP box version. 180 gram vinyl. Includes 12x12" foldout booklet. Includes slip mat. Orbital missed their actual thirtieth anniversary due to lockdown, but it gave Paul and Phil pause to think and find a way to celebrate their past that was actually about the future. Unlike other "Best Of"s, the 30 Something album contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks based on the duo's unrivalled live show. "Satan", "The Box", "Impact", "Belfast", and more appear in new 30 Something guises, familiar yet new, time reversing, yesterday becoming tomorrow. Plus, new track "Smiley". Also including remixes from Yotto, ANNA, Jon Hopkins, Dusky, Joris Voorn, Logo 1000, Eli Brown, Shanti Celeste, and more. Also features remixes by Floex, John Tejada, Octave One, Lone, Rich NxT, and David Holmes. Includes sleeve notes by Andrew Harrison.
CAT #: LMS 5521737BLANCMANGE Private View LP
LP version. Private View is distinctly Blancmange while also expanding into new sonic terrain. There's a deft marriage of futuristic electronic sounds, Neil Arthur's unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange's debut album Happy Families (1982). This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallization of four decades of creativity. On Private View, Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant) and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982's Happy Families (as well as several other Blancmange albums). Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years' worth of knowledge, experience, and built-in intuition. "I'm really lucky to be able make the music completely on my own terms," Arthur says. "Being able to just continue being creative... that's when I'm happiest." As he said before: "within myself there are no limits." Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange "probably the most underrated electronic act of all time"; while John Grant continues to profess his love for Arthur's music, old and new, and has invited Blancmange to perform as part of Grace Jones's Meltdown festival.
CAT #: LMS 5521738BLANCMANGE Private View CD
Private View is distinctly Blancmange while also expanding into new sonic terrain. There's a deft marriage of futuristic electronic sounds, Neil Arthur's unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange's debut album Happy Families (1982). This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallization of four decades of creativity. On Private View, Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant) and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982's Happy Families (as well as several other Blancmange albums). Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years' worth of knowledge, experience, and built-in intuition. "I'm really lucky to be able make the music completely on my own terms," Arthur says. "Being able to just continue being creative... that's when I'm happiest." As he said before: "within myself there are no limits." Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange "probably the most underrated electronic act of all time"; while John Grant continues to profess his love for Arthur's music, old and new, and has invited Blancmange to perform as part of Grace Jones's Meltdown festival.
CAT #: LCD 1006CDASHLEY, ROBERT Dust 2CD
2022 restock. Dust is an opera by Robert Ashley and Yukihiro Yoshihara (video direction) whose imaginary setting is a street corner anywhere in the world, where those who live on the fringes of society gather to talk, to each other and to themselves, about life-changing events, missed opportunities, memory, loss, and regret. Five "street people" recount the memories and experiences of one of their group, a man who has lost his legs in some unnamed war. As part of the experience of losing his legs, he began a conversation with God, under the influence of the morphine he was given to ease his pain. Now he wishes that the conversation, which was interrupted when the morphine wore off, could be continued so that he could get the "secret word" that would stop all wars and suffering. Personnel: Robert Ashley, Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara - Voices; "Blue" Gene Tyranny - synthesizer; Tom Hamilton - live mixing and sound processing; electronic orchestration by Robert Ashley, Tom Hamilton and "Blue" Gene Tyranny; sound effects for "Friends" composed by Tom Hamilton. Double CD comes in a jewel box and includes the 160-page libretto in a slipcase.
CAT #: MIA 020RE-LPKRENG Works for Abattoir Ferme 2007-2011 4LP
Ten-year anniversary edition of Kreng's massive Works for Abattoir Fe?rme 2007-2011 four LPs worth of slow, skin-crawling cinematic ambience made for the Belgian theater group Abattoir Ferme?. It could hardly be a better time to again dive deep into Kreng and Abattoir Ferme?'s disturbingly beautiful underground worlds. Through eighth full-length vinyl sides you are transported through the most terrifying, shadow-filled, downright bizarre moments of the subconscious. What could be the sound of your darkest dreams or most surreal fantasies gradually unfolds throughout the three-and-a-half-hour duration. Exactly this is what Abattoir Ferme? specializes in, and Pepijn Caudron's scores perfectly reflect and accompanies both this theatricality as well as your own fears and desires in a masterful way. Each extended side is crafted from an arsenal of samples, disintegrating vinyl and corroded tape, and Pepijn Caudron manipulates these sounds in a way that belies the sources. Rather than allow the sounds to emerge, they stay trapped beneath swathes of noise, tape delay, and oppressive bass giving you a composition that emerges like a cross between William Basinski, Jerry Goldsmith (circa Alien), and Henryk Go?recki. Works for Abattoir Ferme? is not for the faint of heart, but for the rest, it might be just what the doctor ordered... 2022 repress; four LPs with original artwork inside 350g slipcase with silver tone print; includes download code; edition of 300.
MILLE PLATEAUX (GERMANY)
CAT #: MP 041LPLEAF LIBRARY + TERUYUKI KURIHARA, THE Melody Tomb LP
Melody Tomb is the first album in a new collaboration between Tokyo artist Teruyuki Kurihara and London drone pop band The Leaf Library. The nine tracks here have in common a metallic hum and a minimal, austere kind of beauty that recalls Teru's work on his 2020 Frozen Dust album (MP 004LP). Machine tones mix with static, noise, and warm drones, whilst in other places the lineage of classic mangled Warp hardware is visible. In March 2020, The Leaf Library sent their friend Teru a batch of synth drones to play with in the hope a new collaboration would be born. "From the first time we heard Teru's music we knew we wanted to make something with him," say the band. "It has been such a pleasure seeing him take our minimal synth parts and turn them into something really strange and beautiful." The track "Kite Beach" was the first to arrive, featuring on The Leaf Library-curated Object Ten compilation on Objects Forever in 2021, with the rest of the album slowly appearing over the last year. The artists hope to continue the collaboration with another album in the near future. For fans of: Autechre, Biosphere, Ben Frost.
MONO-TONE RECORDS (FRANCE)
CAT #: MT 056LPDUM DUM BOYS Up & Down With The Dum Dum Boys LP
The best Dum Dum Boys album yet?! Yes! All their different styles on one record, from fuzzy and thrashy songs to heart-breaking ballads, from noisy to electronic, from exciting rock n' roll to hypnotic pop, from ultra-short and fast tracks to long and moody ones. An "Up Side" with fast, short, and noisy songs, full of fuzzes and screams and electrifying rhythms. And a "Down Side" with mid-tempo, moody, dark songs, dirty synthesizers, rhythm machine, and languid guitars. (But both sides are equally ultra-intense, edgy, noisy and primitive sounding.) Recorded in an abandoned slaughterhouse(!), mixed in a hot and damp basement, in a raw and primitive way with everything put in the red, like a mockery to modern technology. It's not just a return to the garage, it's back to the cave! And if it wasn't such an old worn-down cliché, there should have been written "play it loud" in huge letters on the cover because that's the way you should listen to this record, the way to really go Up & Down With The Dum Dum Boys.
CAT #: MT 058LPARSENE OBSCENE & THE LOOZERS Don't Pay The Price! LP
Second killer album for this new band featuring previous members of legendary French garage and punk bands such as the Electric Mormons, Flaschen, Motarlozer, and Veines. Fast as the Ramones, raw as the early Saints, poppy as the Nerves, brief as The Briefs, and with that inimitable "French punk" touch. Fourteen songs, all except one under the two minutes tag, fourteen instant hits! Melodic and crude at the same time, ultra-energic and full of catchy hooks, Arsene Obscene's songs are the kind you sing under the shower and on the terraces.
CAT #: MT 059LPXYZ 5 Stars EP 12"
Third record for the transatlantic duo XYZ (Ian Svenonius from Escape-ism, Chain & the Gang, The Make-Up) and Memphis Electronic (from the Dum Dum Boys/NON!). Fuzz guitars! Drum machines! Analog synths! Groovy glam! Sexy soul! Dancefloor rockers! Five hit singles of electronic glam rock/space soul on one 12".
MUNSTER RECORDS (SPAIN)
CAT #: MR 7353EPBUDDHAS, THE Lost Innocence/My Dream 7"
One single was all it took for the Buddhas to attain garage-psych nirvana. "Lost Innocence" and "My Dream" were produced by Gary S Paxton and released on the Shel-Dee label in September 1967. The Buddhas were from Bakersfield, a hundred miles north of Los Angeles in California's San Joaquin Valley. They were active in 1966-67, playing many events sponsored by the dominant "boss" radio station in the area, KAFY, including opening for big name acts at the Bakersfield Civic Auditorium such as the Rolling Stones, the Beach Boys, Jefferson Airplane, and Sonny & Cher. A KAFY show at the Civic on June 2, 1967 was promoted with the slogan Flower Power is Coming, and saw the Buddhas playing alongside the Avengers (of "Be A Caveman" fame), the Words, the Donnybrooks, the Reptyles, and the Black Glass to raise money for the March of Dimes. While some of that Flower Power pollen had evidently permeated the Buddhas' sound, they remained essentially a hard-driving, dance-inducing rock n' roll band, short-haired and smartly-dressed in matching double-breasted suits. The members were Dennis Roark, Dane Nelson, Rick Starr, Larry Meadors (or Meadrows, according to the band's business card), Gary Lettiere and Larry Kirby. The single was recorded at Paxton's studio in the Bakersfield suburb of Oildale, and mixed in Hollywood, where the producer made good use of Capitol's fabled echo chambers. "Lost Innocence" has a tight, compact arrangement, its thumping rhythm track supported by handclaps along with some heavily-reverbed backing vocals. The stinging, reverb-cloaked guitar break hits a sonic sweet spot somewhere between Drake Levin and Jorma Kaukonen. The flowery poetry of the lyrics relates a cautionary tale of teenage lust and its consequences. The outcome of this "story of short-lived glory" appears to be a shotgun wedding: "Cause her daddy and the sheriff did both agree 'twas I for the blame." On the flipside, the eerie, languorous "My Dream" boasts a clear, melodic lead vocal, reverb-swathed backups and plenty of tingling fuzz guitar floating through the veils of mist. The Buddhas disappeared into the mist soon afterwards, and their single slipped into obscurity, until Greg Shaw exhumed "Lost Innocence" for inclusion on Volume 2 of Pebbles, disclosing its immense wonders to a new generation of sixties rock n' roll enthusiasts. Now both sides can be enjoyed on seven-inch vinyl for the first time this century.
CAT #: MR 7354EPHAMILTON STREETCAR Invisible People EP 7"
Regulars on the '60s Sunset Strip scene, Hamilton Streetcar played with The Doors, Buffalo Springfield, and Love. At the height of their popularity, seemingly on the cusp of stardom, the group also shared the stage with acts like Jefferson Airplane, Captain Beefheart, The Kitchen Cinq, The Sunshine Company, Strawberry Alarm Clock, and Steppenwolf. They released two singles in 1967 and 1968 on Lee Hazlewood's LHI Records that have become highly sought-after among garage and psych aficionados. Fuzzy psych rock and trippy, layered grooves combined to form Hamilton Streetcar's signature sound, a vibe that Hazlewood masterfully produced on their first single Invisible People/Flash. The tracks were recorded at United Recorders in Hollywood where Lee cut songs like "These Boots Are Made for Walkin'" and "Some Velvet Morning" with Nancy Sinatra. Hazlewood's psychedelic production is filled with backwards guitars, haunting reverb and a trippy dose of echo, complementing the buzzing organ, fuzz guitar and lysergic pulse of the band. Following the recording of their first single in June of 1967, guitarist Tom Fannon was replaced by Michael Georgiades, who would play on their second and final LHI single, Your Own Comedown/Confusion, which was recorded in December of 1967. After the two singles were released, the band and LHI parted ways in 1968.
CAT #: MRB 350LPESKORBUTO Los Demenciales Chicos Acelerados (Black Vinyl) 2LP
Los Demenciales Chicos Acelerados is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of Quadrophenia by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant", or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. Although Los Demenciales... came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". The album contains new versions of a few previous tracks such as "Ratas Rabiosas" and "Enterrado Vivo" plus the studio version of "Más Allá Del Cementerio". For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album. This is the first facsimile vinyl reissue of one of the most piercing albums in Spain's rock history, by a band whose significance has crossed all kinds of borders. Gatefold sleeve.
CAT #: MEP 002LPNAUJOKS, CHRISTIAN Soft Mouth Data Service LP
Christian Naujoks's work has been heard and seen in a wide range of contexts, from nightclubs to concert halls, art venues, and the theater. He released three solo albums on Berlin-based label Dial Records. After his critically-acclaimed album Wave (DIAL 036CD/LP, 2016), which has been praised as a contemporary masterpiece of ambient romance, followed by numerous collaborative projects with performance artist Ei Arakawa, filmmaker Loretta Fahrenholz, and composer Ari Benjamin Meyers, among others, Christian Naujoks is back with a new record produced during his exhibition Soft Mouth Data Service at Galerie Max Mayer in Düsseldorf. Recorded live on site the eleven tracks featured on this album range from electronic ambient music, microtonal guitar excursions and abstract beats to a unique cover version of Kate Bush's "Running Up That Hill" --all characterized by Naujoks's evocative, humorously wistful approach to music-making and his self-aware yet unabashed search for fragile, intimate beauty. Showing once more that he can feign both naivete and virtuosity, camouflaging one as the other as he effortlessly dresses up art as pop and vice versa. Naujoks engages in a referential world-building that stays geared toward the here and now. In "Aberrant Joan" he combines glitched string orchestration with melodic synth-flutes that call to mind the online activism of K-pop stans. The bass line of the song diptych "No Rave" and "Ambient Rave" takes the music to a deeper dimension, echoing early '90s rave which is contrasted by Naujoks's crystal clear voice. The album closes with "Tearz", a duet for piano and drum sampler, which captures both the emotional gravity and the surprising lightness of the entire album in one track. Lacquer cut by Mike Grinser; includes inlay with liner notes by Colin Lang. Transparent vinyl; edition of 300.
NEW WORLD RECORDS
CAT #: NW 80832CDSINGLETON, ALVIN Four String Quartets CD
"Alvin Singleton's (b. 1940) approach to music-making has all along been involved in an interplay with listeners and their psychology. While this does not mean he has been centered on simply pleasing his audiences, his work seems to constantly draw his audience into confronting challenges of listening, and they tend to end up pleased. Therefore, with so many of his pieces, they might be extremely complex and masterfully crafted, but seldom do you feel he presents the listener with something they cannot understand on at least a basic level. When asked recently about why ordinary listeners seem to 'get' his music, he answered: 'Perhaps because it's structurally filled with surprises, a lot of silences, and spaces in my compositions...' Contrasts both big and small, long and short, vigorous and subdued, loud and quiet, are important to his music. Maybe a passage is presented that happens loudly over and over again followed by sudden silence. Suddenly the listener notices how loud that silence seems. In a way, it is the relationship with the listener that he regards as making serious music a serious matter. And his pieces are more than what is normally thought of as just pieces of music. One finds them that, yes, but as much as anything, they are experiences -- almost 'theatrical' experiences you can hear. Singleton's string quartets span the arc of his career -- the first (untitled) written in 1967, the fourth in 2019 -- and trace his stylistic evolution as a composer. Suggestively and somewhat enigmatically titled -- No. 2 (1988) is Secret Desire to Be Black; No. 3 (1994) is Somehow We Can; No. 4 is Hallelujah Anyhow -- they serve as an excellent introduction to his work and constitute a substantial contribution to the string quartet repertoire by one of this country's most distinguished African-American composers. Three of the four quartets are world-premiere recordings."
CAT #: NW 80837CDROMIG, JAMES The Complexity of Distance CD
"At the onset, we hear a single, heavily distorted power chord. The chord fades, and then we hear three more iterations of the chord in regular, pulsed attacks. To some, especially fans of metal and its many subgenres, this sound is welcoming and familiar. To others, this sound is surprising, perhaps arresting -- an unexpected opening from a composer known for music of quiet, prolonged stillness. This chord and its four attacks signal the opening of The Complexity of Distance, a 58-minute collaboration between composer James Romig (b. 1971, 2019 Pulitzer Prize finalist) and guitarist Mike Scheidt (founder/guitarist/vocalist of the doom metal band YOB). For Romig, the chord came to symbolize his 'self' and his ' place' in the process; as the composition of the piece evolved and developed, it became the chord to which he could relate. For Scheidt, the chord takes on several meanings: the physical (a moment of rest); the spiritual (like the OM syllable in a Buddhist mantra); the psychological (its cyclic recurrence becoming hypnotic); a defiant 'assertion of intention.' These four attacks also set the piece's formal and harmonic structure into motion. The Complexity of Distance is completely built upon a 13:14:15 ratio, which Romig describes in the program notes: 'The work's formal structure comprises three simultaneously unfolding strands of evenly spaced rhythmic pulses, each articulating a unique pair of foundational chords that mutate and combine only when heard coincidentally with, or in close proximity to, others. The first rhythmic strand alternates, at a time-interval of 13 beats, between chords with roots written E and G (sounding A and C in A-standard tuning). The second strand alternates every 14 beats between chords with roots written C and D (F/G). The third strand alternates every 15 beats between chords of B and A (E/D). Beginning and ending with a unison pulse in all three strands, the 13:14:15 ratio takes 2,730 beats to resolve. At a metronome tempo of 48, the cyclic process lasts nearly an hour.' Similar to how a percussionist will choose specific instruments and mallets in order to achieve the particular timbral quality of a particular piece, Scheidt took great care and precision in choosing the materials to express Romig's score. In collaboration with engineer Billy Barnett of Gung Ho Studio and the Hult Performing Arts Center in Eugene, Oregon, Scheidt assembled a wide-ranging arsenal of equipment to craft the sound of this recording."
CAT #: NW 80838CDDE PRATO, OLIVIA I, A.M. - Artist Mother Project CD
"The inspiration and theme for these six new compositions is 'Artistry and Motherhood.' The perennial question of whether a woman can be both an artist and a mother has been on my mind for a few years, having started a family myself in 2016. Important as it is, this topic is not often discussed in modern society, especially not in the frenetic environment of New York City. How did this life-changing experience influence our artistic vision and creativity? How do we fit into a society that still believes women must choose between family and art? The women collaborating with me on this project have committed to be dedicated mothers while still pursuing their goals and dreams in music and art. The music stands alone on its own merits but invites listeners to examine the practical realities and societal position of the artist-mother. This project highlights the rich and diverse talent of each artist while giving us a platform to discuss how the challenges and benefits of motherhood shape our artistic endeavors." --Olivia De Prato
CAT #: NOLAND 009LPSCHULKOWSKY & GEBRUDER TEICHMANN, ROBYN Time Bends 2x12"
Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time. They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed, double speed, 33 rounds per minute, or was it 45? Just try both. World percussion meets techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form associations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex. No need to put a label on it." --Roland Schimmelpfennig (excerpt).
CAT #: OBSM 009EPFEDELE The Awake, Pt. 1 12"
Obscura label head Fedele makes his long-awaited return to the imprint for new EP The Awake, Pt. 1, backed by remixes from Extrawelt and Midnight Operator aka Mathew Jonson and Nathan Jonson. Fedele's penchant for synthesizer techniques and drum machines has caught the ear of global tastemakers, with projects released on the likes of Turbo, Afterlife, and Ellum receiving support from the likes of Maceo Plex, Tiga, Tale of Us, Dixon, John Digweed, Miss Kittin, and DJ Stingray. With sights set towards summer peak, the Italian returns to his Obscura Music imprint with his latest work, The Awake, Pt. 1. "Riot Dance" leads the line with crisp kicks on a heady rise to set the groove before an analog-tinged synth line claims the hook. Acidic tones and ethereal stabs offer a generous dose of psychedelia, while the gritty groove ensures the cut's ability to ignite dance floors. "Modular Madness" harnesses ominous flavors and a driving bassline that ebbs and flows to keep minds melting. The melodies open into swirling synthetics, with revolving reverberations and rich soundscapes capturing the ear from start to finish. Storied German duo Extrawelt arrive on remix duty, taking the reins on "Riot Dance" to twist a low- slung groover. They bring the bassline into the foreground, keeping a delightful vibe alive and welcoming a touch of light to the dark underbelly of the original, before diving back into the deep as the track unfolds. Obscura regular Mathew Jonson connects with a producer he knows well -- his brother Nathan. Together, they remix "Modular Madness" under their alias Midnight Operator. Picking up the pace, they maintain the acid-laced grit from the original arrangement, while adding serene melodies to the high-end. A balanced rework from two seasoned veterans.
ODD FUNK RECORDS (FINLAND)
CAT #: ODDFUNK 012LPVA Odd Jazz Vol 2 LP
The second volume of the well-received collection of analogically recorded sessions held at the Odd Funk Studio in the tradition of spiritual jazz, post-bop, and free improvisation. Recorded, mixed, and produced at Odd Funk Studio by TT and JS. Distributed by RR Gems Records. Features Oaagaada, Kemppainen Tammi Tolvi, Tauna Niingungo with Tatasomba, Mush Tone Ensemble, Sarkkola & Tammi, Fågelbörs, Joronen & Sarkkola, Sarkkola & Tammi, Jooklo Sextet, and Pascal & Baya Rays.
ONLY ROOTS (FRANCE)
CAT #: DOLP 001LPPABLO AND ROCKERS ALL STARS, AUGUSTUS Lightning And Thunder: Previously Unreleased Recordings and Dubplates LP
"Previously unreleased recordings and dubplate from the '70s."
CAT #: ORLP 020LPISAACS, GREGORY The Best Of Gregory Isaacs Vol. 1 LP
2022 repress. All songs copyright by Hazel Music 1977. Recorded at Channel One Studio. Includes tracks "Special Guest", "Cool You", "No Speech", more.
CAT #: OP 068LPSAINT ABDULLAH & EOMAC Patience of a Traitor LP
Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, aka Eomac on a new record entitled Patience of a Traitor. Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house -- its architecture, the role it played in keeping, building community, the bathing rituals -- served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other." Saint Abdullah is the moniker of Mohammad and Mehdi, New York based Iranian-Canadian brothers working across sound. Inspired by Iran's religious, political and cultural history, the project was formed out of "a deep frustration with the way the West perceives -- and treats -- Muslims and the Islamic faith." They aim to "challenge stereotypes and act as a conduit between unnecessary enemies." They have released on labels such as Purple Tape Pedigree, Cassauna, Psychic Liberation, Important Records, and Room40. Ian McDonnell, aka Eomac, is a composer, producer, DJ and label owner. He has released genre-spanning music via The Trilogy Tapes, Stroboscopic Artefacts, Bedouin Records, Killekill, his own Eotrax imprint and the iconic label Planet Mu with his 2021 album, Cracks. His music draws from obscure samples and raw sound design in an ongoing search for musical and collective unity through intense, visceral music for body and soul.
CAT #: ROKU 026LPXT Deorlaf X LP
New music from XT (saxophone player Seymour Wright and percussionist Paul Abbott) in the form of an exhilarating, super compressed, reflective re-assembling of a dozen years working together. Re-animating free improvisation with a Chicago house palette, Deorlaf X is made up of frenetic slabs of mutated multiphonics and triggered percussion, suspended in bouts of possessed reflexive quiet. Where the duo's 2019 release Palina'tufa (EE 004LP) on Empty Editions focused primarily on a response to the real (and imagined) landscapes of Hong Kong, Deorlaf X is located in Dalston, and specifically at OTO. Wrung through Shuan Crook's studio over three nights, the recordings dug from XT's archive aren't simply "duo" -- instead they actively draw on their public and social contexts, involving the influence of audience, engineers and other visiting musicians -- Ghédalia Tazartès, Jamaaladeen Tacuma, Senyawa, RP Boo, and others. "A changing cast of OTO guests, audience and emotions hosted each time in a new London. XT structures sound an ongoing attempt to listen and learn about the rich and transformative affordances of the situations we occupy." The resulting record puts a pin through a dialogue between Abbott and Wright, between histories, potentials, fact, fiction, ideas, friends, audiences, and spaces. The heavy use of referencing recalls the footwork or house traditions of sampling across all manner of influences; what's recalled is primarily the structures of jazz -- Ornette Coleman, Charlie Parker, Anthony Braxton -- but also Ann Quin, Clarice Lispector, Anna Halprin. What's created in recall is a kind of diary, a hyper remembering -- a blisteringly warped kind of future music. Recorded by James Dunn, Shaun Crook and Paul Skinner. Assembled, mixed and re-recorded January 19, 20, and 21, 2020 by XT at Lockdown Studio, Cable Street. Engineer Shaun Crook. Sounds/design by XT. Cover painting Leon Kossoff, Dalston Junction No.3, June 1973 oil on board, 20.5 x 25 cm.
CAT #: ROKU 027LPLEE/JEROME NOETINGER/NADIA RATSIMANDRESY, OKKYUNG Two Duos LP
Two Duos is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, it's magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echoes, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese, and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes's extraordinary capacity for dexterity, nuance, and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Personnel: Okkyung Lee - cello; Jérôme Noetinger - Revox B77; Nadia Ratsimandresy - Ondes Martenot. Recorded live at Cafe OTO. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.
CAT #: ROKU 029LPJIHA AND ROY CLAIRE POTTER, PARK To Call Out Into The Night LP
LP version. Full recording of one of the most engaging and beguiling Late Junction live sessions -- the one-off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter. It's an unlikely pairing which works from the first breath. Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter's words. They unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It's impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter's words a sometimes frightening hörspiel in scouse. Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and you are invited to listen and see a kind of music made visible in its inference.Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and often collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy's interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics, and the aftermath of violent events are common themes in Roy's work and are usually treated with a dark, sometimes willful humor.Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.Recorded and mixed on January 30, 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London.
CAT #: ROKU 030LPSTEIGER, BILLY Loud Object LP
Loud Object is the first solo LP from artist Billy Steiger. Both a visual artist and a musician, Steiger's debut plays as a two-sided experiment in markmarking and sound, as a kind of writing by ear -- metallic, brushed, wooden -- lines imprinted and pressed circular. The record takes its name from the discarded title of the several-hundred-page draft of Clarice Lispector's eventual 96-page novel Água Viva (1973). Devoid of characters or plot, Água Viva appears always in suspension between the interior and exterior and impression and expression. Weird and formless (like the jellyfish "agua viva" translates to in Portuguese) Lispector's text deals less in the cerebral or the knowable realms of words, but more in the unknowable moment of experience. Its joy is found in its looseness, its meaning found in its lack of definition. Loud Object began as six sides of violin improvisations, four of them abandoned and the last of them added to or processed usings samplers in moments Steiger calls "wells" -- gaps or dips in the recording which could be filled or poured into. The process of filling up and taking away, of repeating and multiplying, of building tension between the finite and the lost -- all wrestle with actualization. Which line will be drawn? In the liner notes for the LP, Evie Scarlett Ward writes, "The record holds loss." Though the lines are fixed, its contents are fluid - forty minutes filled in and manipulated, before time moves on. Steiger's relentless rearranging of convention means no two of his live shows are the same, and his decade-plus involvement in London's free improvisation scene constantly surprises. Loud Object is no exception. Recorded on February 12-14 2021 by Daniel Blumberg. Produced by Billy Steiger. Mixed by Billy Steiger and Shaun Crook. Mastered by Guiseppe Ielesi. Artwork by Billy Steiger. Layout by Oli Barrett. Liner notes by Evie Scarlett Ward.
CAT #: ROKU 031LPMORDECAI, ECKA Promise & Illusion LP
Promise & Illusion is the first LP from Ecka Mordecai, following the release of her solo Critique + Prosper on Takuroku in 2020. Cello, violin, voice, horsehair harp, and field recordings combine to spin narrative melodies, rich intimacy, and melancholic landscapes. Promise & Illusion begins with the door to Mordecai's recording space opening and closing repeatedly, unsure whether to let performer or listener in. "woe are we" is sharp, uncomfortable but unafraid, as violin and voice twist together with a sort of tension and high drama that is reminiscent of The Executioner, Henning Christiansen's soundtracks made for the films of his partner Ursula Reuter Christiansen in the 1970s. Then things begin to soften, almost despite themselves. Distortion on "a unit has no unity" can't quite smother a rising tune on warped harp. The cello on "indigos" -- its voice pizzicato with a velvety sustain -- brings comfort and clarity. Mordecai hums a line, feeling out the edges of a song in an intimate release of tension. Mordecai's inclination towards a romantic, nocturnal gloom feels somewhat out of place in London's improvised experimental music. Trained in renaissance viola da gamba in Stafford as part of a youth group, Mordecai went on to study performance art in Brighton. Quickly distracted by the offerings of the sound art course instead, she dialed into the work of improvisers David Toop, Rie Nakajima, and Clive Bell, performing in art galleries and re-purposed off-site locations. A move north put her in touch with Miles Whittaker of Demdike Stare, and Andrew Chalk, and Tom James Scott, with whom she has collaborated as part of CIRCÆA. Slowly her work has taken shape amongst this myriad of influences. A recent recording with Valerio Tricoli made at a similar time to Promise & Illusion found its final form as a cassette -- a collage of sustained tones, ominous atmospheres and brief fourth wall dissolving vocal interactions. With CIRCÆA and Tricoli, Mordecai's previous work has dealt with landscapes, playing with the imaginary over the real, though improvisation is a useful way to dream. Solo on Promise & Illusion, she studies small details instead, the thoughts given space in the imaginary, both comforting and strange.
CAT #: ROKU 032LPNICOLS, MAGGIE Are You Ready? LP
LP version. First physical solo release from legendary vocal improvisor, dancer, and performer Maggie Nicols, and the follow-up to her brilliant Creative Contradiction (Takuroku, 2020). While she might be best known as an improviser (Spontaneous Music Ensemble, Feminist Improvising Group, Les Diaboliques), Maggie Nicols's talents stretch into song, dance, poetry, performance, and composition. When Cafe OTO was shut over lockdown, they invited her to follow-up the brilliant solo Creative Contradiction. "Songs" -- seemingly contradictory to the practices of free improvisation -- have been a vital part in Nicols's relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards swung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent recording with pianist Steve Lodder is simply titled The Maggie Nicols Songbook. Are You Ready? recalls Nicols's own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's "ability to find the 'rhythmelodic'" meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however -- "Are You Ready / Sans Papiers" sets the words of poet Vicky Scrivener to tune; a tale of migration and struggle which is as important to Nicols as the songs her mother wrote. "Whatever Arises" - a companion disk to the 'Songs', is a meditation of sorts, a process of 'following the energy' which has its roots in John Stevens' work. "Improvisation gives the confidence to compose," Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, "Whatever Arises" allows Nicols to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens' work, Nicols' improvisational techniques is also reminiscent of Pauline Oliveros's Sonic Meditations. Recorded at Cafe OTO July 15-17 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson.
CAT #: ROKURE 005LPBLUE NOTES Blue Notes For Mongezi 2LP
OTOROKU present the first vinyl reissue of Blue Notes for Mongezi, one of the most passionate celebrations of a life in music ever laid to tape. Recorded in late 1975 by Blue Notes, then reduced to a quartet -- Dudu Pukwana on alto sax, whistle, percussion, and vocals, Johnny Dyani on bass, bells, and vocals, Louis Moholo-Moholo on drums, percussion, and vocals, and Chris McGregor on piano and percussion -- and issued the following year by Ogun, the album is a kairos; the first commercial release by one of free jazz's seminal ensembles, captured them 13 years after their founding -- at the height of their powers -- delivering an explosive dirge dedicated to Mongezi Feza, their former bandmate and friend. Blue Notes were founded in Cape Town in 1962 and stand among the most important ensembles in the history of jazz. Artistically brilliant and groundbreaking, they were also the first widely visible multiracial band in South Africa. As a mixed-race band under South African apartheid; this group of friends and like-minded artists -- Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani, and Louis Moholo-Moholo -- existed within a context that viewed their mere existence as a dangerous and subversive act. In 1964, as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. Not long after arriving, and facing continued economic peril, the group buckled. Johnny Dyani left to join Don Cherry's band. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath. In late 1975, Mongezi Feza suddenly passed away at the age of thirty from pneumonia. Nine days later, on the December 23rd, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play. The resulting double-LP coalesced into four long-form movements that occupy a side each, collectively unleashing an onslaught of free jazz fire, fluidly covering a remarkable range of moods and tactical approaches across its length. A frenzied funeral dirge, a cry, and catharsis, the record rises and falls between playful and joyous movements of deconstructed song, rhythmic and vocal tribalism, and churning, instrumental free expression. A decidedly African vision of free jazz, coalescing as a collective expression of celebration and loss on a cold London day. Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ilelasi.
CAT #: ROKURE 006LPBLUE NOTES Blue Notes for Johnny LP
OTOROKU present the first vinyl reissue of Blue Notes for Johnny, a defining statement by one of the greatest ensembles in the history of jazz. Recorded in mid-1987 by Blue Notes -- then reduced to the trio of Dudu Pukwana on alto sax, Louis Moholo-Moholo on drums, and Chris McGregor on piano -- it encounters the band 25 years after their founding embarking on an inward meditation through collective music making dedicated to Johnny Dyani, their former bandmate and friend. Blue Notes were founded in Cape Town in 1962, and stand among the most important ensembles in the history of jazz. Artistically brilliant and groundbreaking, they were also the first widely visible multiracial band in South Africa. As a mixed-race band under apartheid, this group of friends and like-minded artists -- Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani, and Louis Moholo-Moholo -- existed within a context that viewed their mere existence as a dangerous and subversive act. Following the untimely passing of Johnny Dyani in late 1986, the last three members of the original line-up -- McGregor, Pukwana and Moholo-Moholo -- reformed to pay tribute to yet another of their fallen brothers. Blue Notes for Johnny, the group's second musical memorial to a band member, incorporates a considerably broader range of touchstone and practices than its predecessor, nodding toward the band's foundations in be-bop and post-bop without abandoning where they had journeyed along the way. Internalizing equal elements of hard-bop, modalism, and free improvisation, it is a startling creative statement, imbued with a tension that renders an equally radical and sophisticated challenge; a furious tide -- slow in pace and it slow to reveal itself -- masquerading in gentler forms. Both Dudu Pukwana and Chris McGregor would pass away three years later in 1990, leaving Moholo-Moholo -- who continues to carve a groundbreaking trajectory across the world of jazz -- as the last surviving member. Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ilelasi.
OUTERNATIONAL SOUNDS (UK)
CAT #: OTR 018LPMAKHALEMELE, MIKE Kabuzela LP
Reissue, originally released in 1979. The great South African tenorist Mike Makhamalele was a graduate of the key early-seventies group The Drive (alongside Bheki Mseleku and Kaya Mahlangu); and a mainstay of the scene centered on the Pelican nightclub in Soweto. From 1975, he began to record under his own name, developing a sophisticated fusion sound in a musical lane which few of his contemporaries were travelling. Always attuned to other global fashions in Black dance and pop music, under numerous studio aliases he cut 45rpm covers of Fela's "Shakara" and the Sugar Hill Gang's "Rapper's Delight"; and in 1979 he entered the Gallo studios with producer Peter Ceronio to respond to the ascendant sound of disco. Named after a township dance craze, Kabuzela was the result: four extended tracks of bouncing, upful disco jazz. Perfectly calibrated for dancing, heavy on the bass and drums, the album is set off by a gleaming centerpiece, "Disco Freaks" -- a joyous paean to the weekend and true lost gem of global disco, perfect for the most discerning dancefloors. Ultra-rare South African disco-jazz classic. Fully licensed. 180 gram, vinyl-only reissue.
CAT #: OVM 319EPWINK, JOSH Balls Back (Feat. Marco Faraone Remix) 12"
Global techno titan Josh Wink returns to his own Ovum Recordings for big new single "Balls Back", which comes with a remix from Marco Faraone. Philly-born DJ, legendary producer, and the man behind many of techno's most iconic cuts, Josh Wink remains as prominent now as he did a quarter of a century ago. That is because of the constant sense of innovation in all he does, as well as his rare understanding of dance floor dynamics and mastery of his studio. Says Josh of his latest track, "Every time I play this people rush over asking 'what is this track that says 'get your balls back'?' Its reaction after playing has been amazing and reassuring that it hits hard, works on the floor, and sticks in people's heads." He's not wrong: the powerful "Balls Back" is a spatial, acid-tinged techno stormer that builds and builds until it ultimately explodes in signature Josh Wink fashion. The 303s are saturated in deep processing along with heavy 909 percussion and a "slap-you-in-your-face" vocal sample that will lead to dance floor devastation. The dub version is a raw, stripped-down and faster-paced bass jacker that turns up the heat, and a Balls Tool is also included for dexterous DJ deployment. Italian Marco Faraone is a fellow techno heavyweight and one of the scene's most versatile producers. He has brought his always impactful sounds to labels like Drumcode, Rekids, and Etruria Beat. His remix is typically robust: vast, rolling drums power it along while glitchy percussion peels off the groove and the percussion gets ever more wild and heavy. It's a real main room monster. This is no-nonsense techno that perfectly marries form and function into a dynamite package.
CAT #: PERL 131EPCARUAN Diaframma EP 12"
Perlon welcomes Gaetano Caruana.
PLEASURE FOR MUSIC (ITALY)
CAT #: PFM 113LPWALKER, SCOTT The Moviegoer LP
2022 repress. Pleasure For Music reissues Scott Walker's The Moviegoer, originally released in 1972. Produced in summer 1972 and released in autumn of the same year by Phillips Records, this is one of the most obscure and controversial albums in Scott Walker's discography. The album was poorly received by critics and if we exclude a 1975 reissue on Contour Label, it has since been deleted till this very welcomed re-release. The Moviegoer is a declared journey through pop arrangements of iconic film music themes. The album includes mainstream oriented versions of classic themes like Nino Rota's love theme from the Godfather, Lalo Schifrin's theme from The Fox, Michel Legrand's theme from "Summer of 42", and Baez / Morricone's anthemic song from Sacco and Vanzetti.
CAT #: PFM 114LPGENTRY, BOBBIE Fancy LP
2022 repress. Pleasure For Music present a reissue of Bobbie Gentry's Fancy, originally released in 1970. Fancy is American singer-songwriter Bobbie Gentry's sixth studio album. A dense and inspired selection of songs, mostly covers, as vivid portraits of different female characters in American culture. The album includes highly personal renditions of songs such as Bacharach's "I'll Never Fall In Love Again", Leon Russel's "Delta Man", James Taylor's "Something In The Way He Moves", and Laura Nyro's "Wedding Bell Blues". A major statement from a great artist and a true American classic.
CAT #: PF 004EPVA Itria Vol. 2 12"
Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time. A harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls. PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and four-to-the-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects. The first track "Generations of Sunsets" by Lipelis joining with Andy Butler from Hercules & Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove -- also with the use of guitar -- and expands the mind to exotic places keeping the body moving with its acid touch. Italian '90s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. "Kuasi Riviera" reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world. Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout "Oil" with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time. Benedek's "Desperado" doesn't shy away from deep diving right back to the '90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive, immersive, and dauntless.
PSICO BR DISCOS & POSTERS (SPAIN)
CAT #: PSYCHED 076LPARAUJO & SILVINHA, EDUARDO Sou Filho Desse Chao LP
Reissue, originally released in 1976. Eduardo Araújo is a Brazilian singer owner of a bold but also incredible high note voice; and his duo singer Silvinha, owner of a great soulful voice, having both been very known to main public and successful in their careers across various music styles from the '60s, '70s, and '80s in Brazil. Araújo reached fame when still young in the early sixties with the massive hit "O Bom" in the Brazilian movement of "Jovem Guarda", along with his fellow companions Erasmo Carlos and Tim Maia, who were also young with success to come. Eduardo Araújo and Silvinha married in the late sixties and partnered in life and music, sometime having recorded both in solo and duo albums, always in the music spotlight for their talent and also surrounded by great musicians. After his successful debut, Eduardo Araújo introduced soul music in Brazil with the album A Onda é Boogaloo in 1968, produced by Tim Maia. In the 1972, Eduardo Araújo released the first Brazilian record recorded in 24 tracks, Kizumbau, which brought many innovations and is very known for his particular style of combining funk rock with Brazilian regional rhythms. In 1975, Eduardo Araújo made a conceptual album into the roots of rock and roll called Pelos Caminhos do Rock, which opened a door to reach more hard rock bands from the decade, influenced by Steppenwolf and Creedence Clearwater Revival. For 1976 album, Eduardo Araújo wanted to dive into Brazilian culture, so he travelled to Salvador, Bahia and was presented to capoeira and candomblé, two Brazilian cultures originated from the African Brazilian community since the colony period, to develop his new album Sou Filho Desse Chão, now in his brand new owned eight-channel studio facility. Eduardo Araujo brought a dream team of musicians, naming Dirceu, drummer from tropicalia and first drummer from the Os Mutantes album; Luciano Souza "Luguita", guitarist legend who mentored famous guitarists such as Pepeu Gomes from Novos Baianos and played with Arnaud Rodrigues and Som Nosso; Valdecir on bass, from Black Rio, the influential band leading movement of black music from Rio de Janeiro; and sanfonista Dominguinhos, the most famous disciple of Luiz Gonzaga. The album cover was also not conventional for the market by Eduardo's choice: he wanted to show the real picture of the hot, dry and arid Brazilian "sertão", dramatically portraited in the drawing with the brutal skeleton riding it's chivalry from fire. As Eduardo Araújo explained in 1976: "Our musical philosophy remains the same: mixing rock and northeastern music to make a universal sound."
PUBLIC POSSESSION (GERMANY)
CAT #: PP 076EPAKSEL & AINO Dreamweaver 12"
Aksel & Aino are back with their unmistakable mix off deep analog instrumentation and poetic vocals. Dreamy pop from Scandinavia that follows up their 2020 released album Lullabies For Submarines (PUBLIC 047LP). As always this caters to moments on and off the dancefloor.
CAT #: PPDISC 005CDVA Chill Pill Volume IV CD
Chill Pill will help you get in line with nature, enhancing positive feelings through better awareness of one's surroundings. Listening to this music will improve your physical, mental, and spiritual well-being. While consuming Chill Pill a healthy mix of relaxation and hedonism is recommended. Features DJ City, Movulango, Nalan, Walter p99 arkestra, Simone De Kunovich, Nice Girl, Eden Burns, Sofie & Speckman, DJ Chrysalis & Babyxxan, Salamanda, Bella Boo, DJ Gigola, Ciutat, La Copine De Flipper, Sh? Mò, Stiltz/Rowley, RIP Swirl, Kean Farrar, Aroma Pitch, and Popp.
CAT #: QUINTESSE 084LPANDY ASH All The Colours 2x12"
All The Colours was a concept that came about from Andy Ash bringing together his music and visual art in an attempt to try and identify the common ground between the two. In both mediums, Andy attempts to convey the full range of human identity -- at first you see and hear euphoria and playfulness, but look a little closer and you will also notice anger, sadness and tension. On this album, Andy approaches house music as the vehicle to convey many different feelings. These tracks are designed to be played on the dancefloor and bring people together -- this is what house music has always been about! The whole album was made over a two-year period in Andy's home studio using a mixture of analog hardware and samples. During this period, Andy was suffering with some significant mental health problems and this album represents his attempts to channel this energy into something productive. This is also the first time Andy has worked with vocalists, bringing a new dimension to his music. Whether it is the old school inspired "The Sound" which features vocalist Erik Rico, or the deep and moody "I'm Here" featuring Liverpool vocalist Amber Kuti, this album brings many different shades of house music to the table. Also features Faber and Nexus Techne.
RADIATION REISSUES (ITALY)
CAT #: RRS 100LPSOCIAL DISTORTION Poshboy's Little Monsters LP
2022 repress; Black vinyl version on Radiation Reissues. Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Poshboy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All". This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form. Includes two bonus tracks."Of the three teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida. I now count John as a dear friend. Apparently, he was only 16 years old when he rolled into the studio that day in April 1981, armed with a taped-up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed 12", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band." --Robbie Fields, New Year's Day, 2019
CAT #: RRS 164LPSLAPSHOT Greatest Hits, Slashes And Crosschecks LP
Reissue, compilation originally released in 2001. A great batch of songs to release your feelings of anger and frustrations, while tearing up any pit in the vicinity. This album shows the staying power of a band that can keep playing music harder, faster, and angrier than many groups that are half their age and will continue to do so. Double sided poster insert included with liner notes by Jonas Kimvall. Grey marble vinyl LP in embossed sleeve.
RADIATION TAPES (ITALY)
CAT #: RADK 7005CSDINOSAUR JR. Where You Been Cassette
2022 reprint. Radiation Tapes present a cassette reissue of Dinosaur Jr.'s Where You Been, originally released in 1992. Formed in 1984, Dinosaur Jr. carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Where You Been, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of. Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band's most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single, "Start Choppin". Released to unanimously positive reviews, and containing many tracks that would become staples and fan favorites, "Where You Been" continued Dinosaur Jr.'s global ascent, being issued simultaneously across the US, Europe, Australasia, Asia, and South America. Limited edition of 350 on cassette.
RADIO LOOP LOOP (ITALY)
CAT #: RLL 071LPPINK FLOYD Live May 9, 1969: Old Refectory, Southampton University - Southampton LP
Pink Floyd, live at Old Refectory Southampton University on May 9, 1969.
RAVE UP RECORDS (ITALY)
CAT #: RUR 089LPTRACKS Brakes On You LP
Mid-seventies Boston and a new local music scene was being forged in defiant opposition to tired arena acts and disco. Jeff (Mono Man) Connolly and JJ Rassler powered DMZ, while John Felice led the Real Kids on stripped-down rockers inspired by '60s garage bands. On the darker side, Tracks' Lorry Doll growled and spit out the lyrics to "Gang War Rumble," "I Don't Need You", and "Love Is (Bondage and Leather)". Co-founded with fellow art student/guitarist Jeff Rey, Lorry and Tracks joined a handful of other bands at the infamous Rat igniting Boston's new music scene; just as Television, the Ramones, Talking Heads, and others were doing the same in New York. Some called it punk or new wave, but it really was the birth of an alternative form of original expression that not only influenced and inspired subsequent bands coming out of these two cities, but also impacted all music that was to follow. In 1976, Tracks recorded a live set at the Club in Cambridge and released "Brakes on You" as a single on Blue Door Records. Picked up by Bomp for international distribution, it garnered Tracks worldwide notoriety. By the end of 1978, bolstered by airplay for the single, Tracks were playing most of their gigs in New York at legendary punk venues like CBGB's and Max's Kansas City. Sharing the bill with renown acts like the Police and the Jam and every other "hot new act" that was coming through the east coast, Doll and Rey knew they would have to make the move to NYC sooner or later. It came on Christmas day in December of that year. They returned to Boston for one final raucous gig with bassist John Shriver and drummer Bryan Brat on January 20th of 1979 and then Tracks (but not Doll and Rey) faded into history.
CAT #: EZRDR 049LPVA Brown Acid - The First Trip LP
2022 repress. "Back in stock on purple vinyl. Expertly archived compilation (assembled by LA's Permanent Records along with Riding Easy) explores the wealth of proto-metal, pre-stoner lost rock tracks from the past 30 years. Features blowouts from Snow, Tour, Zebra, Bob Goodsite, Raw Meat, Punch, Bacchus, Lenny Drake, The Todd, and Josefus."
CAT #: EZRDR 077LPVA Brown Acid - The Fourth Trip LP
2022 repress. LP version. "If you thought we were getting close to the end of the Brown Acid series with our last Trip, you were dead wrong... we're only just getting rolling. The well of privately released hard rock, heavy psych, and proto-metal 45s is deep and we are nowhere near tapped out. Most of these records were barely released and never properly distributed so they ain't easy to find, but they're out there if you're willing to dig... and we aren't afraid to get our hands dirty. Hard calluses have formed from handling the shovel and we've sifted through a lot of dirt, but we've dug up another ten tremendous records to share with all the heavy heads out there. This volume brings together eight insanely rare and skull-crushingly heavy 45s as well as two previously unreleased bangers. You may remember the Zekes' jaw dropper 'Box' from the First Trip. If you don't, you better go back and refresh your memory, you stoner. That song rips! And so does this previously unheard recording we legally obtained from the Beverly Hills records vaults. 'Comin Back' is the longest tune we've yet to include on this series and it's a full-on rager! The only surviving copy of this recording came to us on the original 1/4" master tape from Hollywood's long-defunct Demars & Duffy Music. We did our best to preserve the recording and we think you'll appreciate the rawness. There have been numerous groups named Bad Axe over the years, but the one you hear here is the baddest. This five-piece fresh outta high school kicked out this jam (and a few others) in a Chicago studio in 1973 just for the hell of it. As a garage band, they were previously named The Burlington Express and they went on to be known as Bitch, but these dudes hit their stride as Bad Axe and 'Coachman' is their crowning achievement. It went completely unreleased until 2014 when Permanent Records issued it and 'Poor Man, Run' as a limited edition 45 with a killer picture sleeve. It's long out-of-print and only obtainable now on Brown Acid. The rest of the records included on this volume vary in rarity, but at least two of them were virtually unknown until we discovered them. You'll win the lottery before you find copies of all of the original 45s in even the best record stores. Many of the records included in this volume are owned only by the members of the bands and some of the band members don't even have personal copies. That's just how hard these guys hit it back in the day! We're lucky some of these guys are still alive and well enough to give us permission to use their masters. And for that, we thank them. And you, for all your support. Brown Acid is here to stay... as long as you'll have us. Plug in, turn up, and freak out... this is what Rock n' Roll is all about."
RR GEMS (ESTONIA)
CAT #: RRGEMS 010LPRESILIENT VESSELS Live at the Cell LP
New York City based bassist and visual artist Josh Werner was awarded an artist in residence from The Cell Gallery located in New York, NY. As a part of this residency which occurred in the month of July 2020, Josh presented various works in different mediums from visual art to music. In lieu of the 2020 pandemic, Josh was unable to present music to a live audience and instead offered a pre-recorded live performance to be aired at a later date. Werner was able to put together an ensemble of some of the leading improvisors on the New York City scene in that of James Brandon Lewis, Ches Smith, and Patrick Holmes. One of the leading jazz pioneers Ornette Coleman once expressed himself by saying "you know more, but I feel more ." During these turbulent times this statement resonates with this ensemble; it's one that embodies the acknowledgement of feelings within your being to then pour into the music being presented. This ensemble draws from proceeding generations of musicians such as Don Cherry, Roy Ayers, John Coltrane, Cecil Taylor, Albert Ayler, A Tribe Called Quest, and the energy of the downtown art rock movement. Personnel: James Brandon Lewis - saxophone; Patrick Holmes - clarinet; Ches Smith - drums; Josh Werner - bass.
CAT #: RRGEMS 011LPGROSSMANN, MURIEL Union LP
Muriel Grossmann's Union is a great opportunity to experience the energy of a live performance. Union was recorded in early autumn of 2019 during a two-day recording session in Mallorca studio, Caja Del Ruido. In the context of this record and the previous ones, you can clearly talk about Muriel Grossmann's music as a style of music that is distinctive and recognizable from the very first note. This is music performed with a great artistic concentration, integrity, and energy. Heavyweight vinyl; old-style sleeve with spot matte varnish on top of glossy laminate; includes insert with liner notes and band photos. Personnel: Muriel Grossmann - saxophones; Radomir Milojkovic - guitar; Llorenç Barceló - Hammond; Uros Stamenkovic - drums.
RUNNING BACK (GERMANY)
CAT #: RB 017LPLAUER Cyclone Days LP
Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop, and house music in its traditional sense get mixed up in a blender of happiness, Lauer's latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it's everything you would expect or want from him. A world of merry music, where melody is king. On top of that, you get value for your money: Vocal blockbusters like the upbeat "Somebody" (instrumental included) and the more restrained "Friends" (both with frequent collaborator Dena), sit comfortably between instrumental hits. "Resonator" and "Neway" take the role of the proverbial keys to happiness, while the title track or "Exterminate" balance it out with joyful melancholy. Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn't blown.
CAT #: RBSHAN 005EPSHAN Warehouse Vol. 1 12"
Enshanté! The long overdue comeback of Shan on Running Back won't disappoint fans new and old. Correctly captioned Warehouse Vol. 1, the EP with six tracks isn't a tribute to the Chicago's legendary club of the same name (with all respect due and even if that's almost impossible). Shan's sixth release for his home town label is rather a nod to all the nameless industrial spaces and places that played and still play a role as shelters and fertile soil for raw and ruff dance music. More a feeling and a sound aesthetic than a concrete set of rules, you will find ingredients as diverse as breakbeats, rave signals, Italo bass lines, Virgoesque piano notes ("Shifter") and up-tempo grooves that all seem to be lifted from an overdriven early '90s mixtape by an unknown DJ: before, during and after the rave. Especially "Abfahrt" (German slang for "rave") deserves special attention for connoisseurs of proto-jungle rage house with big stabs and a Reese bass to die for. Works like a charm at any tempo and almost any peak time. Excuse the pun, but please: Join in the Shant!
CAT #: STRTEP 082EPPIXELORD Demonslayer LP
Insane and heavy beats by the OG don Pixelord featuring great remixes by an all-star line-up comprising DJ Ride, DJ Pound, Starkey, and DRANQ! Like a lightning bolt in the middle of a dark sea, Pixelord has returned once again from the frozen lands to shock and disquiet the tides of futuristic bass music. Perhaps the best thing about Russian electronic music godfather Alexey Devyanin's Pixelord project returning to Saturate! for this Demonslayer release is not simply the exciting and hard-hitting beats contained within, but the simple fact that it shall be offered on delicious, glorious vinyl. "Doomguy" comes tearing straight in with menacing, distorted synth weaponry, assaulting with ballistic beats (even some nods to junglism) until finally bestowing some glittering melody atop the fray, showing that not only is Alexey an elder-statesman of the genre, he's still the eager bass monster that explores his own depths. The depths are again evident in "Pain Elemental" where the vibe is established immediately, and only delves deeper into the slightly-detuned bass signals and ominous creeping atmosphere. The melodic elements are no longer here to sooth, they are newly charged laser beams that sear the flesh, scorching the eardrums. This foreboding, demon-dispatching vibe is indeed present throughout this entire release, as you enter the "Bonus Stage" of this deadly game, where the aggression does not abate, and the bass plays backseat to the synth bell sonic geometry on display. The drums especially feel the wrath of Pixelord on this track, where some impossibly tortured tambourines take a beating, and the chopping and relentless reorganization of the rhythm keeps you churning with intensity. The title track brings the "wild style", even though the drums are less frantic, the bass frequencies and laser blasts from our protagonist, the ever-ready "Demonslayer", are sure to dismantle any submissive subwoofer in range. "BFG" rounds out this collection in a disheveled fashion, dishing out low frequency divebombs and squelches, whilst otherworldly transmissions from synth realms afar come leaping in trying to assert their dominance, only to be eaten alive by daemonic bass and telluric currents of seismic drum activity. The remixes are equal in intensity and aggression, but the textures by which this is conveyed are wholly transformed and re-imagined skillfully. No demon shall stand a chance against Pixelord's battalion of beats and bass.
CAT #: STRTLP 011LPVA Saturated Warriors! LP
Saturate!, a bass music label based in Hamburg, Germany that started in 2010, has come together with Stylust's (formerly Stylust Beats) Sleeveless Records to bring the world Saturated Warriors!, a sweltering new compilation album featuring heavy-hitters from all around. Both labels pride themselves on only putting out the freshest music, always catering to the counterculture crowds and only accelerating with the times. Over the years, Saturate! and Sleeveless have had releases from some of the current biggest names in the bass-music scene, including Herobust, G Jones, Zeke Beats, Conrank, Shlump, and more. Finding their niche in giving young talent a platform, these labels have become a home for young producers that aren't afraid to experiment. Features Esseks, THRPY & DJ Ride, Stylust, dope, Pigeon Hole, DRANQ, JLEON & KOWTA, Donkong, CRIMES!, ColtCuts, Jimmy Pé, FLY & Toadface, SKEW, and Tobacco Rat.
CAT #: STRTLP 012LPVA Saturated! Vol. 7 LP
Saturated!, the various artist series on vinyl, has proven to be the epitome of curation in bass music since its inception. The whole package is curated such that each track perfectly flows into the next. Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment, Saturate! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists. and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic, and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scene's biggest names. These compilations present a weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene. Vol. 7 features Esseks, THRPY & DJ Ride, Stylust, dope, Pigeon Hole, DRANQ, JLEON & KOWTA, Donkong, CRIMES!, ColtCuts, Jimmy Pé, FLY & Toadface, SKEW, and Tobacco Rat.
CAT #: STRTLP 013LPVA Saturated! Vol. 8 LP
Saturated!, the various artist series on vinyl, has proven to be the epitome of curation in bass music since its inception. The whole package is curated such that each track perfectly flows into the next. Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment, Saturate! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists. and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic, and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scene's biggest names. These compilations present a weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene. Vol. 8 features Subp Yao, Obese, Dayzero, Don Piper, one2six, Dead End, Theoretical, DJ RIDE, dope, DRANQ, Muadeep, and SIGKILL.
SCI + TEC DIGITAL AUDIO
CAT #: TEC8S1DUBFIRE Escape/Elevation 12"
With a career spanning over three decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works "Ribcage", "Emissions", "Roadkill", and the highly acclaimed "Exit" with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver Huntemann, Chris Liebing, Tiga, and co-producing two tracks on the legendary Underworld's Barking album. In 2022, he finally releases his debut album EVOLV (TEC8BOX). An 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC. EVOLV's concept? The journey of the "hybrid" being and its evolution since its first appearance in 2015, as part of his two-year world tour following the release of his retrospective release A Decade Of Dubfire. This is the second of the four singles. "Escape", a deep, dark and pulsating track that sets the tone for the body of work on the album. Coupled with "Elevation" and it's understated arp and crisp percussion for the second single.
SCISSOR & THREAD
CAT #: SAT 052EPFRANK & TONY Eastern Meantimes 12"
The next release from the re-activated Frank & Tony drops on Scissor and Thread. Following on from Dream Vibration (SAT 050EP) -- which broke a five-year hiatus from the much-lauded production pair of Francis Harris and Anthony Collins -- Eastern Meantimes offers a sublime set of tracks and remixes. The original features New York artist Eliana Glass, whose sultry vocals ride above a deep, atmospheric groove and lush pads and washes. The track is also presented here with two stellar remixes from Timmy Regsiford, the New York legend who has been defining the sound of house in the city for nearly 40 years. Here his vocal and instrumental remixes are smooth, deep and infectious, sure to light up discerning dancefloors the world over. Frank & Tony's "Absence" is the other original track here, a thick, pulsing bass-driven roller punctuated with sharp snares and the pair's trademark ethereal pads.
CAT #: SATLTD 005EPFRANK & TONY The Early Years (feat. Bob Moses) 12"
Finally getting a vinyl re-release is Frank & Tony's seminal work with breakout duo Bob Moses. Back in 2012 Francis Harris and Anthony Collins (Frank & Tony) worked with their fellow New Yorkers before they went on to sign to Domino and blow up globally. The four track EP kicks off with "Elea" -- a deep and thoughtful collaboration utilizing Frank & Tony's slick production with understated vocals. Next up on the A side is "Holding On", featuring Bob Moses vocals atop of a low-key bumping groove. There's also washes of brass that add a new dimension to the track. Flipping over to the B side, "Holy For Her" (which also appeared back in 2012), is a densely wound, hypnotic rhythm, providing the basis for Tom Howie and Jim Vallance to do their special thing. Winding things up, "Marigold" is another early classic from the same period -- a dubbed-out groove with sharp percussion and a killer, signature vocal. An essential release capturing a vital period in both outfits' development.
SEVEN VILLAS (SPAIN)
CAT #: 7VA 007LPBOLIVAR & SENSUAL PHYSICS, PABLO Details Am Rande 2LP
With their second album, Pablo Bolivar and Jörg manage to touch body and mind without hesitation and make direct contact with the neural pathways. On the one hand, it is a soulful, danceable ride through vibrant pulsars and undiscovered galaxies. On the other hand, the two artists create a self-contained, profound concept full of details to be discovered. An exhilarating fight into infinity full of beautiful synthesizers and smooth drum patterns. Organic warmth of instrumentation serves as a catalyst in these ten tracks, and combines with elements of dub techno, minimal, ambient and other electronic genre variations -- always with a warm and embracing crackle between the lines.
SKYDOG RECORDS (FRANCE)
CAT #: SK 2021LPIGGY AND THE STOOGES Live at Richards, Atlanta, GA, October 1973 LP
2022 restock, last copies. Live at Richards, Atlanta, Georgia, October 1973. Mick Rock: photography. Marc Z: executive producer. "The restored live recordings of the band's 1973 Atlanta performance which, aside from showcasing Iggy´s bellicose stage presence and his desire to stick things into other people's asses, boasts superb piano and bass presence. It also demonstrates the band's great contradiction?how it sounded great even at the height of dysfunction. This is the real thing. On Skydog Records, Marc Zermati´s very last wish."
CAT #: SOULG 001LPRIPERTON, MINNIE Come To My Garden LP
2022 repress. A proper reissue of Minnie Riperton's debut album Come To My Garden on GRT, originally published in 1970. Her name came to prominence with the highly influential Chicago band Rotary Connection, forerunners of the rock n' soul crossover. In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. Standing on her own, Minnie cut a series of sublime albums moving in a more soulful way. Opening track "Les Fleur" is a shiny cover of a Ramsey Lewis -- who is musical assistant and contributor here -- classic number penned in 1968, literally a cornerstone for contemporary hip-hop and R&B being sampled by the likes of Jurassic 5 feat. Nelly Furtado, Damu the Fudgemunk, Dr. Octagon, and Cut Chemist, among others. Produced by Charles Stepney (already in with Rotary Connection and subsequently behind the desk with Earth Wind & Fire), the album benefits from its lushy orchestral arrangements, pushing the vocal duties of Minnie even forward (her five-octave vocal range, enabled her to sing in "whistle register" nevertheless). The jazzy soft-pop feel overall will mark comparison with Stevie Wonder, Riperton's future employer/mentor. Fully licensed. 180 gram, clear vinyl.
SOWING RECORDS (ITALY)
CAT #: SOW 019LPFULLER, CURTIS Soul Trombone And The Jazz Clan LP
Reissue, originally released on Impulse! in 1962. Soul Trombone And The Jazz Clan was a major statement from one of the great trombone players in American jazz. Here, Curtis Fuller displays an outstanding hard-bop ensemble based on a bunch of great individuals all at the top of their game. Fuller himself is part of a super strong horn section with trumpeter Freddie Hubbard and tenor saxophonist Jimmy Heath, while the groove is assured by a hard swinging rhythm section with pianist Cedar Walton, bassist Jimmie Merritt, and drummer Jimmy Cobb. Fuller gives lots of space to his musicians who naturally respond and empathize with great solos. In one word: outstanding! Clear vinyl.
CAT #: SOW 034LPCOLTRANE, JOHN Coltrane Time LP
Reissue. Recorded in NYC in 1958 and originally released in 1959 as The Cecil Taylor Quintet - Hard Driving Jazz this is in fact the only existing document of the meeting between John Coltrane and Cecil Taylor. Even if caught at an early stage in their career the two masters show great personality and deep respect for each other while trumpeter Kenny Dorham sticks more to his familiar bop idiom. Cordially backed up by Chuck Israel on bass and Louis Hayes, Coltrane swings madly on Taylor's dissonant comping producing a rare, fascinating friction between two worlds. A must for every Coltrane maniac out there. Clear vinyl.
STUDENTS OF DECAY
CAT #: SOD 120LPBLUE CHEMISE Daughters Of Time LP
2022 restock. Blue Chemise documents the hermetic sound world of Australia's Mark Gomes. Daughters Of Time follows 2017's brilliant full-length Influence On Dusk, released in micro-edition on Gomes's own Greedy Ventilator imprint. It is an elegiac set of vignettes recorded straight to dictaphone with minimal post-production. These pieces function in a manner akin to Loren Connor's evocative "airs", conjuring poignant, intangible senses of longing and nostalgia then disappearing well before overstaying their welcome. Regarding their genesis, Gomes points to a quote from Australian artist Robert Hunter: "It's like I'm external to them. They develop their own assertion and character; their becoming finished is a thing they decide themselves. It's unexplainable."
STUDIO BARNHUS (SWEDEN)
CAT #: BARN 080LPBOMAN, AXEL LUZ / Quest for Fire 3x12"
Repressed. Pitchfork: Best New Music. Nearly a decade after the release of his breakthrough debut album Family Vacation (2013), Axel Boman returns with astonishing force: two albums, titled LUZ and Quest for fire, will drop simultaneously and in one package. Containing nine songs each and featuring guests like Off The Meds frontman Kamohelo, Baba Stiltz, Bella Boo, Man Tear, Miljon, and saxophonist Kristian Harborg, the two albums are separate but corresponding works, communicating through music, design and words. Together with long time collaborators Robin Ekemark (design) and Erik Lavesson (words and art direction), Axel has spearheaded a project with plenty of layers available to those that dig deep. Erik writes: "For Axel's two albums, we wanted to build on the music to create a kind of expanded universe. If you just want to listen to the music, it's all there and you don't have to look any further. If you want to go deeper, you have these extra layers to delve into: album art, text, archive material. They feed back into the music and open up new perspectives, while the music opens up ways to enter the other material as well." Erik's text "Brandenburger Ulam" will accompany the album project's physical release, with both records arriving together in a limited triple vinyl package, allowing for the full experience of Robin's design. Includes download.
CAT #: SND 016EPKAMINAKAMURA, MIKIO SND 16 12"
Mikio Kaminakamura presents five fresh tracks on Sundance. His past release is Oneself Than Skill EP from Sundance (SND 010EP, 2018).
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 030LPCHICO MAGNETIC BAND Chico Magnetic Band LP
2022 repress. Survival Research present a reissue of Chico Magnetic Band's self-titled album, originally released in 1971. Lyon-based freakers Chico Magnetic Band began as Chico & the Slow Death, its front man a wild Tunisian-born singer otherwise known as Mahmoud Ayari, with drummer Patrick Garel, bassist Alain Mazet, and guitarist Bernard Lloret, later replaced by Bernard Monneri. Conjuring a dark, excessive sound with unfettered guitar, pummeling drum rolls and Ayari growling and grumbling over the top, this sole LP is culled from different permutating sessions, with plenty of audio freakery and extreme effects from Jean-Pierre Massiera; Hendrix cover "Cross Town Traffic" is rendered with love, despite Ayari's hefty accent.
CAT #: TAO 012CDDICKEY QUARTET, WHIT Root Perspectives CD
"Drummer Whit Dickey guides a formidable new quartet through deep waters on Root Perspectives. As he states, 'I get into music not just by playing but by accessing a vibration.' This work gets to the heart of what he means by that elliptical phrase. It is the latest recording from his TAO Forms label, which since its 2020 founding has released some of the freshest material in recent memory, including James Brandon Lewis' poll-winning Jesup Wagon, and Dickey's own highly inspired works, Expanding Light and Astral Long Form: Staircase in Space. On Root Perspectives -- recorded the day after releasing Astral Long Form in May 2022: 'I conceived this album off of a vibration that I felt while obsessively listening to the title composition of Coltrane's Crescent,' he recalls. 'I tried to rhythmically anticipate each instrument of the classic quartet while keying into the central mantra/vibration. I began to hear how each instrument embodied the mantra in subtly different ways. On this album, my plan was to tap into the drum part of that mantra, and let the quartet rise from there.' The sound and energy of a tenor-based quartet was a logical choice, and this presents the first encounter between Dickey and saxophonist Tony Malaby -- who brought determined grit and fire to the session, along with Matthew Shipp -- one of Dickey's closest associates, and the youngest of the group -- agile and inventive bassist Brandon Lopez. By deeply tuning in to cosmic vibrations, the Tao, and the players assembled around him, Dickey has found a musical center that grows more profound with each passing year."
THE WIRE (UK)
CAT #: WIRE 465WIRE, THE #465 November 2022 MAG/CD
"The Wire Tapper 60 CD: Every copy of the November issue will come with a free CD of the latest album in our series of underground music anthologies attached to the cover. This edition of The Wire Tapper features a cover designed by Patrick Savile and contains 16 new tracks by Lucrecia Dalt, Lady Aicha & Pisco Crane, Reiko and Tori Kudo, Balka Sound, Oiseaux-Tempête, Dave Clarkson and more; Tyshawn Sorey: The US composer, multi-instrumentalist and educator has redrawn the boundaries of radical music through his ambitious experiments in sound composition across longform albums and adventurous new ensemble commissions. He talks to Stewart Smith about his new trio album Mesmerism and collaborations with Afrofuturist producer. Inside the issue... Joyce: The Brazilian musical prodigy, a favorite of Antonio Carlos Jobim, enjoyed a stellar 1970s before her career was diverted by domestic political struggles and the disco era. As her 1977 New York album Natureza finally sees the light of day, she talks to Joshua Minsoo Kim; Horse Lords: Baltimore's rock trio put the 'tune' into 'tuning' through their mantric rock minimalism which collides Just Intonation harmonic systems and the energy of West African guitars. By Dan Wilson; Devin Townsend: The rogue operator of avant rock has forged a unique career as both first choice collaborator for metal groups and lone psychonaut exploring the outer corners of the guitar. He talks to Joseph Stannard about his new twin release Lightwork/Nightwork. Invisible Jukebox: Radical punx and founders of London's Decolonize festival. Big Joanie take The Wire's mystery record test; Global Ear: Memories of a coastal town destroyed in 2011 by the Japanese tsunami live on through field recordings and songs in the hands of one of its former residents; One-page interviews with Backxwash, Andrew Poppy, Xhosa Cole and Camille Emaille. Unlimited Editions, Unofficial Channels, The Inner Sleeve, and Epiphanies."
TOY TONICS (GERMANY)
CAT #: TOYT 130EPGOME Home Skooling EP 12"
Germany is not known for soul music but some of the hottest disco artists of the 1970s and '80s were based in Germany. To be more precise in Munich. Donna Summer, Moroder, Faltermeyer, Boney M or Silver Convention who created the "string disco sound" came from Munich's wild disco scene in the 1970s. And that's the vibe you get with the new GOME guys. The 25 years old guys originally come from Munich. The have the Munich disco DNA. Which means: They feel the funk, they know about Soul music and good basslines, they know how to groove (not to bang) and they have that slight sense of irony and easiness you need to make good disco music. (Some say the dark days of Berlin techno are over after Covid, Munich disco is the opposite.) GOME are a live act. Their disco is played on several drum machines, keyboards, sequencers and microphone. Their first EP got massive props from the likes of Laurent Garnier ("Love love love for this EP") and other more funk-oriented house DJs. The new one goes further. It's '80s disco. The first track "Teach You" was produced in the raw style of early Prince or the legendary Sexual Harrassment. A pumping bassline, driving 808 beats and funky rap vocals is the only thing you need. Erobique, King of German disco and member of the band International Pony (DJ Koze and Cosmic DJ) did a stripped-down remix showing that less is more.
CAT #: TOYT 138EPKOSMO KINT Remix EP 12"
This is a fat package of remixes. David Morales, Kai Alce, Atjazz, The Checkup. All reworked songs from the upcoming debut album of Kosmo Kint. Toy Tonics discovered Kosmo Kint in 2019 when looking for a singer to work with. Kosmo is a soul vocalist raised in New York. He lives in Berlin since a few years, after studying opera singing in Vienna and was looking for the right crew to hook up in Berlin. Toy Tonics was perfect. Now, after four collaborations on songs of different Toy Tonics artists (Kapote, Rhode & Brown, Mangabey, Sam Ruffilo) Kosmo is ready for a solo album. The album will eventually come out, the music has a fresh up-tempo neo soul vibe. But these four remixes are made to introduce the voice of Kosmo. Four fat remixes.
TOYS BERLIN (GERMANY)
CAT #: TOYS 010LPASA 808 Boy, crush LP
ASA 808's new album Boy, crush is a very personal inner journey as well as a call to fight and free ourselves from toxic masculinity. In eight tracks that subtly merge electronica, ambient, breakbeat, and house, the Berlin-based artist process their own quest for gender identity. Out on the TOYS Berlin imprint, the album proposes new, softer and more diverse forms of gender fluidity. ASA 808 invites listeners to expand their views of the gender spectrum. The title Boy, crush plays with the term "boy crush" and is meant as an encouragement for all men to "collectively crush manhood" with all its toxic traits and consequences: "Toxic masculinity has kept our grandmothers and mothers small and brought deviant boys into line. It took me a long time to unlearn so much sexism and queerphobia and find my inner queer child again to let it grow, bloom and shine. I dream of a world in which men emasculate themselves. In which masculinity (if we feel it's still needed) will embrace softness, weakness, vulnerability, solidarity, consideration, mindfulness, self-reflectiveness and nonviolence," explains the non-binary producer and DJ who discovered their gender-nonconforming side already at an early age.
TRADING PLACES (UK)
CAT #: TDP 54062LPCLINTON, GEORGE Live in Chicago 1989 with The P-Funk Allstars LP
After an early start in doo-wop fronting the Parliaments, George Clinton helmed Funkadelic and Parliament, related hard funk projects at the border of the form's acceptability, employing crazed concepts, outrageous costumes, and drug-addled references to outer space. During the '80s and '90s, Clinton kept the fires burning with his P-Funk Allstars, a cosmic sloppy affair whose live shows continued to push the boundaries, as heard on this riotous live set delivered in Chicago, with extended jams on favorites such as "Mothership Connection (Star Child)," "Give Up The Funk (Tear The Roof Off The Sucker)," and "Make My Funk The P-Funk," as well as the bluesy lament of "Pepe The Pill Popper." Dynamite! Licensed by Prestige. Splatter vinyl.
CAT #: TDP 54074LPCLINTON, GEORGE The P-Funk Power LP
Abandoning doo-wop for hard funk through Funkadelic and related act Parliament, George Clinton became the cosmic funk warrior extolling sex, drugs, and funk n' roll, using bubbling bass, rock-star guitars, full horn sections, and powerful choruses to venture into funk's deep space. The P-Funk Power cherry-pics some fine live concert moments from Clinton and his P-Funk All Stars, the highlights including a riveting rendition of "Let's Take It To The Stage," and super-extended takes of crowd-pleasers "Cosmic Slop" and "Atomic Dog," culminating in the excessive funk space trip of "Funkentelechy (Where'd You Get That Funk From)," the man and his band on peak form from start to finish. All killer, no filler! Licensed by Prestige. Splatter vinyl.
CAT #: 9783982466712HEGEMANN/PAUL HOCKENOS/REGINA BAER, DIMITRI Tresor: True Stories - The Early Years Book
Tresor: True Stories is the first printed excavation of Tresor's legendary history. Digging deeply into its rich archives, the venerable institution has unearthed countless treasures from its over three-decade old history. Over 400 never before seen photographs, flyers, faxes, and other artifacts illustrate a story that intersects with the most important social and musical trend in the modern history of Berlin. The story is told with the voices of those that were there -- over 40 protagonists share their first-hand reminiscences of the "big bang" that launched techno into the world. Through the story of Tresor, the book charts the heady days of '80s West Berlin through to the explosion of new energy that midwifed in the new social reality of reunified Germany. This is a unique and essential printed monument to the institution that changed electronic music forever, and the city that allowed it to exist. Softcover; 300g/m² raw cardboard, granular lamination, open spine binding; 352 pages, Neon CMYK print on Lessebo Smooth Natural 90g/m² and Galaxi ArtSamt 115g/m²; Dimensions: 22,0 x 30 x 2.2cm (1.4kg).
CAT #: VAMPI 183LPVA The Afrosound Of Colombia Vol. 3 2LP
It's been a few years, but Vampisoul is back with the next installment of Colombian tropical bangers from the deep vaults of Discos Fuentes. The term Afrosound denotes an always exciting, sometimes surprising soundtrack chronicling the embrace, development, dissemination, and commercialization of the country's rich Afro-Coastal musical heritage over more than four decades. It is the proud sound of African-rooted culture translated, transformed, and transmitted through the commercial enterprise of Discos Fuentes, and this third collection offers an even more diverse and chronologically wide-ranging array of tracks than the previous two volumes, with an even stronger focus on the music's folkloric origins. The unifying factor this time is the same: African roots or influences and the period of experimentation, self-expression, upheaval, rebellion, and rebirth in the industry, nurtured by the label and its stable of musicians, song-writers, producers, and engineers. Although this volume does not list Fruko Y Sus Tesos in the track-by-track credits, the presence of Julio Ernesto Estrada Rincón can be felt throughout, with the first half setting the stage for his artistic birth, schooling and eventual emergence at the label, and the second half featuring bands that he was an integral part of or had a hand in creating, producing, and composing for. And with that said, Vampisoul dedicate this collection to Fruko: long may he reign as "The King of Afrosound". This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. Afrosound Vol. 3 comprises an outstanding selection of 26 hard-to find-tracks, many reissued for the first time, covering a wide array of Afro-rooted genres, with a stronger focus on the music's folkloric origins than in previous volumes, featuring recordings by the likes of Michi Sarmiento, Wganda Kenya, The Latin Brothers, Los Corraleros De Majagual, Peregoyo... Includes an extended booklet with notes by compiler Pablo Yglesias aka DJ Bongohead. Also features Pepe Velásquez y Su Arpa Paraguaya, Pedro Salcedo Y Su Orquesta, Pedro Laza Y Sus Pelayeros, Los Alegres Diablos, Juan Piña Y Sus Muchachos, Pello Torres Y Sus Diablos Del Ritmo, Los Satélites, Julio Erazo Y Su Conjunto, Ariza y Su Combo, Pedro Jairo Garcés Y Su Guitarra Estereofonica, Los Claves, Los Super Star De Colombia, Peregoyo Y Su Combo Vacaná, La Carnaval Swing, El Sexteto Miramar, Toño Y Su Combo, Juancho Vargas Al Órgano, El Super Combo Los Diamantes, César Pompeyo Y Su Sonora, La Integración, Dimensión Caribe De Pedro Conde, Michi Y Sus Bravos, and Afrosound.
CAT #: VAMPI 248LPLINARES, ALFREDO El Pito LP
The first LP released by Lima pianist Alfredo Linares under his own name is brimming with tropical hits from the mid-sixties (including a Frank Sinatra classic.) By the time he recorded his version of El Pito in 1966, Alfredo was already an accomplished musician. He studied music in parallel to his schooling, attending the Conservatoire in the afternoons and soon went on to lead Alfredito Linares y su Salsa All Stars, a continuation of the orchestra founded by his father. In 1966 the song El Pito became a hit in the United States, which is why Distribuidora Peruana Sudamericana, associated with MAG, released the single as well as Joe de Cuba's sextet LP. MAG's next step was to suggest Alfredo Linares record the song, which he did in August 1966, with lead vocals by Raul Ducós Domínguez from Chalaco and backing vocals by Tony de Cuba, Benny del Solar and Rolo Bernal. The lyrics include references to the effects of marijuana that Ducós improvised during the recording in just one take. Charlie Palomares plays the vibraphone, accompanied by "Negro" Santos on bass and "Cheverin" Miguel Villanueva on the bongos. It is one of the few songs on the album where there are no trumpets. "Strangers in the Night" topped the Billboard charts in 1966, which was a powerful reason for Manuel Guerrero to suggest including the song. This cover version features brass instruments and the participation of Peruvian crooner Lalo Bisbal. The first of the two guarachas on the album, "Qué Mala Fue Esa Mujer" is a composition by Chivirico Dávila, a globetrotting tropical singer who lived in Lima at different times. While the Peruvian singer Benny del Solar is the lead vocalist on the second, "Sin Tu Querer". The album closes with the boogaloo "Maggie". The record also includes two extraordinary compositions by Linares: "Descarga" and the son montuno "Cadenciosa", where the flute solo was played by Cuban Alberto Castillo, who also performs on the guaguancós "María La O" and "Mi Guaguancó", both recorded a year earlier by the Harlow Orchestra. The album was finally released in the summer of 1967, and "El Pito" and "Strangers in the Night" made it into most of the charts. Critics were quick to praise the new sounds on El Pito, which brought listeners up to date with the tropical sound developments in the United States, to which Linares added touches of jazz. Linares released another LP, on MAG, the following year, in which he continued to explore the sounds of Latin jazz, boogaloo and descarga.
CAT #: VAMPI 260LPVA 14 MAGníficos Bailables LP
MAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was Don Manuel Antonio Guerrero, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: Nils Jazz Ensemble, Sonora Casino, Traffic Sound, Al Valdez, Pax... 14 MAGníficos Bailables is a 14-track compilation that celebrates a new era in the history of the label, now under the Vampisoul umbrella, with a selection of astonishing dance floor-oriented gems. This is also a perfect introduction to MAG, showcasing the amazing musical variety sported by the Peruvian label throughout the years. The comp includes juicy Cuban songs like "Mi Son Combinado", an outstanding original taken from the extremely scarce LP recorded by Cuba's finest Orquesta Revé for MAG in Lima, and the explosive guaracha "Tin Marin" by Los Kintos, a group led by guitarist Pancho Acosta. Also, classic songs such as "Arroz Con Coco" or "Aprieta (Oye Como Va)," and obscure recordings like the stunning "Ritmo Veregua" by Tito Chicoma. MAG will turn 70 in 2023 and is a pivotal label in Peruvian music, mainly focused on tropical rhythms although its extensive catalogue also includes rock, pop and jazz recordings. Also features Los Avileños, Freddy Roland Y Su Orquesta, Silvestre Montez, Mita Y Su Monte Adentro, Poppy Y Sus Pirañas, Al Valdez, Sonora Casino, Germán Neciosup Y Su Orquesta, La Sonora MAG, Ñico Estrada y Su Sonora, Melcochita y Karamanduka.
CAT #: VAMPI 267LPWGANDA KENYA Africa 5000 LP
First time reissue of Wganda Kenya's Africa 5.000, originally released in 1975. Africa 5.000 (1975) has a legendary reputation as one of Colombia's best hard-to-find Afro-funk records and is a highly prized collector's piece today. The epic "La Torta" (The Cake) kicks things off with a lively Colombian interpretation of Haitian compas. The tune is still remembered as a big picó (amplified sound system) hit at the verbenas (outdoor dance parties). "Fiebre De Lepra" (Leprosy Fever) was also released as a 45 single and is certainly one of Wganda Kenya's wilder tracks. Funky wah-wah guitar, makossa style bass, manic organ, and feverishly insane vocals (from Wilson "Saoko" Manyoma and Joe Arroyo) indicate that Fruko and his pals were having a ball goofing around in the studio. If for no other reason, Africa 5.000 is sought-after for being the album containing Fruko and Javier García's outrageously funky and off-kilter "Tifit Hayed", which has become a tropical dancefloor favorite in recent years. Again the "kitchen sink" approach is employed, including massive Latin bass lines, tasty Farfisa organ stabs, a bluesy, jazzy piano solo, and plenty of humorous vocal sound effects (including animal noises and lip burbling). However, it's the stomping break beats and cowbell counterpoint that has kept dance floors busy. Side B leaps out of the speakers with the heavy, strutting "El Caterete", which was the flipside to the "Fiebre De Lepra" single and is based on the 1970 song "Cateretê" by Brazilian singer/songwriter Marku Ribas. Like its sibling Fuentes studio band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary Afro-Latin-funk trends in a prescient way that has inspired a legion of fans across the globe, and this reissue of Africa 5.000 will only serve to further cement the band's growing reputation amongst today's diggers of tropical psychedelia. Includes a non-album bonus cut, plus informative notes.
CAT #: VAMPI 269LPLOS DEMENTES Manicomio A Locha LP
Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled ¡Alerta mundo! Llegaron los 'The Crazy Men' the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled Manicomio A Locha. The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men" -- a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. "Puerto Libre", sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. "3 in 1" is a medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. The funky "Guajira Con Boogaloo" echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music.
CAT #: VAMPI 45091EPPALOMARES Y SU YUBONEY/MITA Y SU MONTE ADENTRO, CHARLIE Vives Bugaloo/El Yoyo 7"
First time reissue. Two stunning party tunes recorded in the late '60s in Peru by the legendary pianist Charlie Palomares and Oswaldo "Mita" Barreto. Much sought-after boogaloo and guaracha tunes from the vaults of MAG records. A perfect addition to the acclaimed previous singles in Vampisoul's "Tropical 45s series" that so far has included recordings by the likes of Jimmy Salcedo, Mario Allison, Cumbia Moderna de Soledad, Lito Barrientos...
WATERGATE RECORDS (GERMANY)
CAT #: WG 028CDBIESMANS Watergate 28 CD
Biesmans will mix the next volume of Watergate's prestigious mix series, following in the footsteps of Ellen Allien, Solomun, Jimi Jules, and WhoMadeWho. Going above and beyond the standard mix compilation brief, the Belgian artist has produced a work consisting entirely of his own original productions. The project also features collaborations with a diverse range of artists including Dusky, Mathew Jonson, Adana Twins, and Kasper Bjørke, alongside rising talent such as Shubostar and Mala Ika. Following Trains, Planes & Automobiles (WGA 003LP, 2021), his next impressive career stride is Watergate 28, a joyful neon dancefloor trip that takes in synthwave, indie dance, nu disco, and all manner of celestial tracks in the house spectrum. It's also the first Watergate compilation since dOP's in 2012 (WG 006CD) to take on the mammoth challenge of producing all original and exclusive material for the project. When he arrived back in Berlin in mid-February ready to begin studio time, he started completing a sketch on "Smooth Monday", the track that would go onto to be his luminescent collaboration with the Permanent Vacation-backed Zombies In Miami. Two weeks into his studio time, it was clear there was more than enough quality material to not only fulfill, but smash Watergate's original brief. What followed was no less than 17 original tracks and 13 collaborations -- arguably the most ambitious in Watergate's compilation history. Already in touch after releasing on their imprint 17 Steps in 2019, he sent three sketches to Dusky and the nostalgia-soaked "Back in the Daze" was the shimmering result. The vibes flowed like a dream when he linked with Kid Simius for the funky nu disco gem "Me Gusta Acid", even recording Kid's vocals in one take. A visit to his hero Mathew Jonson's studio for the day saw the birth of the pumping piano-laden houser "Quantum Computing", a project highlight. After bonding over their shared love of cosmic synths in Tulum this year, Biesmans invited South Korean artist Shubostar into his studio to create the wavy '80s inspired creation "Across the Universe". Biesmans likewise mined inspiration wherever he went, his track "March for Peace" was created off the back of attending a rally to support Ukraine. Biesmans pieced together each track like a jigsaw puzzle, building up sonic moods throughout. The resulting mix is an exhilarating technicolor journey. From the immense opener "Away" with one half of dOP's Vandesande, to the woozy arpeggiated bliss of "Holiday" with Kasper Bjørke and the synth-drenched breakbeat euphoria of the Biesmans solo cut "All Day Every Day", it's a highlight-heavy 78-minute ride. Also features Jacob Bellens, Alex Medina, Johannes Albert, TomTheBomb, and Joy Adegoke.
CAT #: WG 090EPBERGMANN, HENRI Mind Control EP 12"
Blazing newcomer Henri Bergmann makes her full EP debut on Watergate Records with the captivating Mind Control EP. Building a buzz via impressive releases on her label Automatik, the Londoner has picked up support from everyone from Dixon, Solomun, and Maceo Plex. Indeed, mention the Dodi Palese remix of her track "Protection" to any clued-up melodic house fan and you're likely to be met with a blissed-out response, so beloved was the cut, which also ended up in Tale of Clubs' top 10 for 2021. Her maiden voyage on the Oberbaumbrücke home label is a tour de force of chugging house that encompasses new wave, electro, and progressive elements, with a strong cast of collaborators and remixes along the way. Pushing herself creatively during the lockdown, this EP is the first time we've heard Henri utilize her voice on her own productions, and the resulting work is a treat. The title track is a team-up with Biesmans who brings his distinct retro sound signature to the track, while Henri's vox elevates it to another level. "Our Time Has Come" is a punchy dancefloor gem propelled by her own vocals and a classy psychedelic synth line. "We Just Keep On Going" brings bags of robotic soul to the table, as Henri's husband Wennink takes to the vocoder, alongside a mystical lead melody. Stephan Jolk returns to the label re-working "Mind Control" into a muscular weapon. Meanwhile Echonomist, who is notable for his appearance on WhoMadeWho's Watergate 26 compilation (WG 026CD, 2019), also takes his hand to the title track, re-fashioning it into a tough bass-driven electro cut that's beautiful and brain-scrambling in equal doses.
CAT #: WG 091EPJOPLYN Can't Get Enough/Fact & Fiction (Adana Twins/JAMIIE Remixes) 12"
First time available on vinyl. A pair of Watergate favorites add their touch to Joplyn standout label debut from last year, as "Fact & Fiction" and "Can't Get Enough" get impressive remixes from Adana Twins and Jamiie. A prodigiously talented producer, DJ, and live act on the rise, Joplyn's Watergate Records debut last December was an exhilarating eleventh hour highlight of 2022. Championed by Pete Tong on BBC Radio 1, the release now gets a second life. Adana Twins re-fashion "Can't Get Enough" into a beast of a tune that cleverly retains the emotion of the original, while propelling it into peak-time festival territory, with a blissful build up and a bass-face inducing bottom end. A straight up fire tune. "Fact & Fiction" get Jamiie's vibe-heavy touch, taking the dreamy tones of the original and re-working them into an impact-heavy end-of-night opus.
CAT #: WG 092EPMIA MENDI Robosynapse EP 12"
Rising UK duo Mia Mendi returns for their second outing on Watergate Records with the retro-tinged Robosynapse EP. The label debut of Mia Mendi was a notable 2021 highlight for the Oberbaumbrücke imprint. Titled Ubi, the EP was a collaboration with Thomas Gandey and demonstrated their full-bodied dancefloor approach, injecting their unique sound signature into a modern progressive house palette. "Robosynapse" is no less exciting (or fun). The title track is a plump nu wave houser, driven by soaring retro synths, a gutsy electro bassline and an '80s guitar solo. "Simulated Reality" buzzes and hums, seven minutes of emotional electro and crispy drumlines, before handing the baton to "Cyborg String", which continues the dreamy throwdown. Alan Dixon makes his first contribution to Watergate Records and re-fashions "Robosynapse" into a glistening cosmic-tinged beast, amplifying the focus on the guitar lead. Fresh off her label debut with the excellent Mind Control EP, Henri Bergmann makes a welcome return to re-work "Simulated Reality" into a powerful melodic gem, heightening the focus on the synths. An added bonus to the pack, Musumeci delivers a supreme chugging re-work of "Ubi".
CAT #: WG 093EPVA Watergate 28 EP #1 12"
A generous DJ/party-friendly six-pack from Biesmans's brilliant, intense contribution to Watergate's revered mix album series, selecting from the 17-track album collaborations with Adana Twins, Shubostar, Dusky, Kasper Bjørke & Jacob Bellens, and Zombies in Miami, plus a solo from the Belgian Indie dance maestro. Includes download.
CAT #: WG 094EPVA Watergate 28 EP #2 12"
The final sixer from Watergate 28 album mixed by Biesmans inside three months, a testament to his talent and intense focus. Featuring collabs with Mathew Jonson, Mala Ika, TomTheBomb, Johannes Albert, Kid Simius, and another solo cut from the Belgian producer's 17 original tracks for Watergate 28, arguably the label's most ambitious to date. And this EP is a banger. Includes download.
CAT #: WHP 1452LPGREEN, AL Soul! (Live 1973) LP
Exclusive live set for the reverend, right across the release of two influential albums on Hi Records: Livin' For You (1973) and Call Me (1973). Recorded January 1973: NYC, NY - WNET Studios. Personnel: Al Green - vocals; Michael Baker, Buddy Jarrett, Darrell Nealy - horns; James Bass, Larry Lee - electric guitar; Linda Harper - organ; Aaron Purdie - drums; William McBroom - bass.
CAT #: WHP 1453LPBROWN, JAMES The Soul Train Sessions 1973-74 LP
The king of soul alive and kicking with the stunning JB's in these historical TV set. More energizing than ever with an impressive set of killer tunes. Side A was recorded on February 10, 1973. Side B was recorded on September 14, 1974. The JB's: Fred Wesley - trombone; Musical director St. Clair Pinckney - saxophone; Jimmy Parker - saxophone; Isaiah "Ike" Oakley - trumpet; Fred Thomas - bass; John "Jabo" Starks - drums; Clyde Stubblefield - drums; Johnny Griggs - percussion; Hearlon Cheese Martin - guitar; Jimmy Nolen - guitar; Lyn Collins - vocals; Danny Ray - MC.
CAT #: WHP 1454LPDAVIS QUINTET FEATURING JOHN COLTRANE, MILES 1960-04-09 Kurhaus Scheveningen, The Netherlands LP
Stunning European live performance from Miles Davis with his early quintet featuring the magic of a young and talented John Coltrane. Personnel: Miles Davis (trumpet), John Coltrane (tenor saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums).
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 058LPNOHARA, TARO Poly-Time Soundscapes / Forest Of The Shrine LP
WRWTFWW Records announce Poly-Time Soundscapes / Forest Of The Shrine, a brand new release by Japanese producer Taro Nohara (Yakenohara). Eight tracks of pure environmental ambient bliss. Based in Tokyo, Taro Nohara is a producer, beatmaker, DJ, and music activist who made a mark with his electronic/ambient unit Unknown Me (of Not Not Fun Records fame). His new solo project, Poly-Time Soundscapes / Forest Of The Shrine, is a unique and modern take on Japanese environmental music, a free-floating re-interpretation of the sub-genre made famous by Midori Takada, Hiroshi Yoshimura, or Satoshi Ashikawa (and more) fused with subtle nuances of various origins: downtempo, hip-hop, sound design, chill-out, experimental. Conceived as a two-part adventure of contemplative peace, Taro Nohara's organic soundscape takes you on a mind-soothing walk-through time (or memories) and the beautiful mysteries of luscious forests -- don't resist, let yourself go, explore. Heavy 350gsm sleeve.
CAT #: XXX 014EPISAIE XXX014 12"
New mini album from Isaie, new live alias from Simon Weiss, well known from releases on Rush Hour and Voyage Direct with his hit "Television". XXX the label presents its new release XXX014. XXX014 will be a mini-album with eight tracks on vinyl. Each side contains various genre crossing tracks that could be used on different occasions, whether you are in a sweaty basement, a big festival, or on an obscure radio show, these tracks will do the trick. High energy guaranteed.
YORE RECORDS (GERMANY)
CAT #: YORE 041EPL.D.F. & JAVONNTTE How We Groove EP 12"
With How We Groove EP, Lello Di Franco (L.D.F.) and Brian Garrett (Javonntte) pair up for a prototypical Yore release, a high-quality affair that's natural clubby yet also artful. Di Franco's an Italian DJ and producer who's based in Naples and whose career began in the early '90s; Garrett, on the other hand, hails from Detroit and has been creating material for almost as long. Their respective output locates itself solidly in house and techno but extends into soul, funk, and jazz areas too. Said gravitations aren't mere flirtations either; Garrett's interest in jazz began in high school, and when he was fifteen or so the aspiring musician even had a month's worth of lessons in the mid-80s with -- wait for it -- Miles Davis (Garrett's mom apparently had connections). Associations with Aretha Franklin, Blake Baxter, and others surface in his history -- but that's for another time. All three tracks qualify as dance productions but satisfy equally well on pure listening grounds. While a strong '80s vibe initially oozes from "Believe" in the electronic drum fills that get it moving, the cut quickly settles into a light-speed groove that percolates with single-minded determination. The richly detailed arrangement shape-shifts rapidly: at one moment, syncopated piano chords give the track a classic house feel; at another synthesizer flourishes and bass pulses lend it a sleek, sci-fi quality as the material thrusts breathlessly forward. The less frenetic "From Day to Night" is earthier and funkier though no less artful. As a punchy bottom end establishes an infectious house vibe (with a bit of jazz swing also in the mix), see-sawing vocal elements and bubbly synthesizer touches elevate the track to a headier "listening" realm. At first it seems as if the title track might venture into gospel territory, what with organ and piano dominating the intro, but soon enough the tune brands itself as a swaggering house cut, albeit one replete with funky drop-outs and trippy vocal effects. No matter how adventurous and experimental the material gets, pumping bass drums and swishing pulses ensure the tracks never lose their identity as floor-fillers.
CAT #: ZEHRA 008LPSHAHEEN, SIMON The Music Of Mohamed Abdel Wahab LP
Reissue of the oud/viola virtuoso Simon Shaheen's interpretations of pieces by one of the Middle East's most important 20th century composers, Mohamed Abdel Wahab. Originally released in 1990. 180 gram vinyl; includes download card.Singer, actor, and composer Mohamed Abdel Wahab (1902-1991) is commonly considered "the father of modern Egyptian song." After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie The White Rose in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, Wahab left the film industry to focus on singing and composing -- he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as Wahab was open to Western elements such as waltz rhythms or even rock n' roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. Wahab received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture.Simon Shaheen (born 1955) is the perfect choice for Wahab's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of five and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. Shaheen lives in New York where he founded the Near Eastern Music Ensemble and Qantara. He also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. Shaheen's biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards. Produced by Bill Laswell, remastered for vinyl at Dubplates & Mastering, Berlin.new releases are also viewable at https://www.forcedexposure.
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