Forced Exposure New Releases for the Week of 6/13/2022
New music is due from Lúcia de Carvalho, Daniel Schmidt, and Julia Reidy, while old music is due from Sonic Youth, Phill Niblock, and Carambolage.
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NEW RELEASES FOR THE WEEK OF 06/13/2022
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A RECORDINGS (UK)
CAT #: AUK 030LPBRIAN JONESTOWN MASSACRE, THE Revelation 2LP
2022 repress. 180 gram double LP version, now on black vinyl (for the first time). Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin. It is the 14th full-length release from The Brian Jonestown Massacre, recorded from late 2012 to early 2014. Anton Newcombe refined the 13 tracks that appear on the album, which also features Ricky Maymi, an original member of the band. It also features Joachim Alhund (Les Big Byrds), Constantine Karlis (Dimmer), and Ryan Van Kriedt (Asteroid #4) plus vocal performances in Swedish by Joachim Alhund (Les Big Byrds) on the opening track. This album brings the traditional Brian Jonestown Massacre sound mixed with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.
BLACK TRUFFLE (AUSTRALIA)
CAT #: BT 088LPREIDY, JULIA World in World LP
Black Truffle announce World in World, the latest solo offering from prolific Berlin-based guitarist-composer Julia Reidy. Where the recent trilogy of LP releases -- brace, brace (Slip, 2019), In Real Life (BT 051LP, 2019), and Vanish (EMEGO 288LP, 2020) -- focused on increasingly lush electronic settings for Reidy's propulsive fingerpicking and auto-tuned vocals, arranged into wide-ranging side-long epics, World in World finds Reidy refocusing on the core elements of their approach while simultaneously pushing into challenging new areas. Comprising nine pieces ranging between two and seven minutes in length, the album's opening title track promptly introduces the distinctive palette of just-intoned electric guitars, subtle electronic processing, and voice that is rigorously explored throughout. Where much of Reidy's guitar work on previous recordings explored rapidly pulsed cycling figures, here, notes often hang in the air in a more spacious, lyrical fashion. The elasticity of rhythm and non-linear repetition of pitches initially suggests improvisation until the listener becomes aware of the precise arrangements of spatialized lines. At times, World in World suggests classic bedroom electric guitar works of the 1990s such as Loren Connors's Airs (2015) or Roy Montgomery's Scenes from the South Island (1995); like those works, Reidy's possesses a wonderfully live ambience, with frequent pedal clicks adding to the music's powerful sense of intimacy. In Reidy's case, however, the yearning, melancholic mood of Connors or Montgomery is tempered by the unorthodox guitar tuning, which at points produces a unique and uncomfortable effect somewhere between the hyper-precision of Harry Partch or Lou Harrison and Jandek's slack-stringed descent into the void. While World in World plots out its terrain with a bold single-mindedness that allows some pieces to appear almost as variations on a common theme, subtle changes in emphasis distinguish each track. Tactile percussive interjections skitter across the tremolo tones of "Paradise in Unrecognisable Colours", while "Ajar" ramps up the role played by the electronics, with glitching pitch-shifted and back-masked textures threaded through the guitars and thickly harmonized vocal layers. Ranging from autotuned melodic lines to buried murmurs, Reidy's voice is a frequent presence throughout these nine pieces, at times creating the impression that a more conventional series of songs lurks underneath the chiming microtonal guitars. On the stunning "Poised", whispers and distant, ghostly wails surround the layers of guitars, at times suggesting the foggiest outer reaches of Liz Harris's Grouper. Both rigorously experimental and emotive, World in World is undoubtedly Julia Reidy's finest work yet.
CAT #: BT 089LPTSUNODA, TOSHIYA Landscape and Voice LP
Black Truffle present Landscape and Voice, a radical new work (and rare vinyl release) from major Japanese sound artist Toshiya Tsunoda. Undoubtedly one of the most influential artists working with location recordings since the 1990s, Tsunoda's work possesses a rigorously searching quality that sets him apart from his contemporaries. Tsunoda is known to many listeners for the subtle atmospheric poetry of his early Extract from Field Recording Archive series, which focused on vibrations recorded in various indoor and outdoor environments in his native Miura Peninsula, often inside pipes, bottles and other vessels. In more recent years, his work has explored the implications of his claim that field recording should be seen as "depiction" rather than "documentation". He has explored disorienting editing and processing in his works with Taku Unami, and, perhaps most radically, represented Maguchi Bay as a kind of kinetic sculpture for shaking speakers by removing all but the inaudible low frequencies from a field recording (Low Frequency Observed at Maguchi Bay). One of the recurrent concerns of Tsunoda's recent work, as he explains in the crystalline liner notes accompanying this release, is "exploring how I can establish a subjective relationship with an environment, rather than seeing it merely as an object to be recorded." This has taken various forms, from documenting simultaneously an outdoor environment and the blood flowing through the listener/recorder's body (captured with a stethoscope) on The Temple Recordings, to representing his own experience of the landscape as made up of "grains of space and time" by inserting looped fragments into field recordings in Grains of Spring. On Landscape and Voice, this meeting between subject and object becomes an almost mystical union between the natural and the human. As with all of Tsunoda's work, a relatively simple concept leads to compelling, thought-provoking results. Landscape and Voice combines vowel sounds spoken by six voices with short, looped fragments of field recordings, their noise character suggesting consonants: voice and landscape thus join together in something like words. The record consists of three pieces, each using a different, richly evocative field recording, which periodically freezes, catching on a looped fragment to which is synchronized an abruptly looped spoken vowel sound. The lengths between these interruptions vary, as do the tempi of the loops. The interruption of these lushly immersive recordings of the world -- bristling with bird song, rushing water, distant traffic, and clinking metal -- only serves to intensify them, as if the depicted environment itself had been returned to the listener each time it abruptly reappears. Sleeve designed by Lasse Marhaug. Liner notes from the composer. 45RPM.
BUREAU B (GERMANY)
CAT #: BB 356LPVA Sowas Von Egal 2: German Synth Wave Underground 1981-1984 LP
2022 restock. LP version. Two years have passed since Bureau B released the first Sowas Von Egal compilation (BB 310CD/LP, 2018). With the musical movement or genre known as NDW celebrating its 40th anniversary, what better time than now to launch an ambitious successor to the first sampler. The beating heart of this endeavor is once again invigorated by the synchronous passions of bespoke Hamburg label Bureau B and the label's Damaged Goods nights where they present rare, obscure synth and wave discs from the early 1980s. It was clear from the outset that Sowas Von Egal 2 would need to scale similar heights of excellence as its predecessor, featuring carefully selected, sought-after, danceable tunes. Bureau B began by compiling a pool of potential tracks, a creative process of lively discussion in the spirit of "open-mindedness" which culminated in a list of priority targets. After research and rich encounters with input from musicians, friends, and acquaintances, Bureau B revised their target list several times over -- some artists simply could not be found, a few had actually passed away. There were also some who were determined not to revisit their own musical history and asked the label to leave out their songs. Some tracks are so rare that they do not even appear on YouTube. Bureau B have picked up the rights to release them. In contrast to the first volume, most of the acts on Sowas Von Egal 2 were only active in the early 1980s and have not released any records since then. The tape artists were particularly invested in the DIY ethic -- as is often apparent in their sound aesthetics and the unbridled energy which has lost none of its intensity today. Their art was seldom -- if ever -- tempered by commercial considerations or sales strategies. The photograph on the cover beautifully captures the paradoxical tensions which pervaded the atmosphere of the early Eighties: new beginnings, renewal, protest and self-empowerment on one side, frustration, hedonism, future anxiety, and destructive rage on the other. The DIY spirit ingrained in the music and attitude of the bands and artists gathered here is also brought into focus, whilst simultaneously establishing a connection to Hamburg. Mastering by Tom Morgenstern. Artwork by Biljana Tomic. Features Die Neue Weltmacht, Christian Kneisel, Silberstreif, Lieferschein, 4712, Plastiktanz, Rolf Jungklaus, Vono, Kleenex Aktiv, Conrad + Gregor Schnitzler, Partner Eins, Mark Montan, "In" Seit, Mittageisen, Die Synthetische Republik, and Casino Mariteam.
DGTL RECORDS (NETHERLANDS)
CAT #: DGTL 020LPVA 5YRS of DGTL Records 4x12"
DGTL Records -- the official label arm of Dutch festival giant DGTL -- marks its fifth anniversary in style with brand new album 5YRS of DGTL Records. The 14-track long player is released as a 4x12" vinyl set. 5YRS of DGTL Records is a perfect reflection of not just of the label itself but also its global event patron: headliners sitting equally alongside local talent and up-and-coming acts. Holding a great variety of forward-thinking house and techno, the label stays true to the same formula of the festival shows. Over the past five years, DGTL Records has grown into its own as a fully-fledged musical arm of the overall DGTL musical experience, introducing new sounds and acts to an international audience. For promising Dutch DJ/producers Coloray, Tjade, Nicky Elisabeth, and Lucky Done Gone, this will be their first release on DGTL Records, while the likes of Deniro and JP Enfant are already familiar names to label fans, having previously released EPs on the label. All are linked to promising rising international talent such as Jimi Jules, Kino Todo, and TERR and to DGTL "veterans" such as Adriatique, Dax J, Roman Flügel, and Frank Wiedemann & Trikk, who have been part of the DGTL family for years. Presented in a tri-fold cover, the LP will feature artwork by Eric Smilde, who has incorporated the distinctive elements of DGTL festival at the NDSM Docklands into a 3-D design. Known for its sustainable ambitions, DGTL continues along that path with this vinyl release, choosing to work with Deepgrooves, the world's greenest vinyl pressing plant thanks to their innovative and leading working method. Also features Mano Le Tough, TERR / Daniel Watts / Johann Heyss, and Kino Todo / Danelz.
DUST SCIENCE (UK)
CAT #: DUST 095CDBLACK DOG, THE Music For Photographers CD
"We've always worked apart. For us, it's nothing new. Large online servers have been in place for years but at some stage, we always meet up while working on an album to pour over the details, tone and running order. We create storyboards and write text to support and form the ideas. However, this process and the simple ability to sit in the same room just wasn't possible during the pandemic. This isn't necessarily a bad thing; on this project we believe that it has helped us to capture the isolation a photographer seeks with their subject. It's an attempt at slowing down and finding something internal. When the chatter stops, the creative intentions seep through. Music For Photographers was first created as a functional tool. For the last two years, we've been photographing our city and the brutal architecture that sits within the landscape. Throughout this process many mistakes had been made, resulting in many return visits to repeat work already undertaken. Rushing, aimlessly collecting and near misses are all common problems. Photography, just like any other artform, needs to be practiced and the skills need to be attained. Like music, it's a constant battle. Something was needed to aid the art being sought. We created Music For Photographers with two simple rules; to be void of human voices and that it should be played in full when visiting any location. Our approach to composing the music and visiting the locations evolved. It helped the whole process become a more fluid exchange of ideas and we repeated the process later while editing the photographs. The book Brutal Sheffield provided a full stop for the creative process, finding that perfect balance between function and form. Music For Photographers has now become a fully functioning sigil in our creative process. Rather than just invoking, it also evokes and goes beyond being a simple function. Listen carefully and you can hear the bre?ton brut!" Features Oliver Ho.
CAT #: ECHO 088EPMATHIMIDORI Akebono Remix EP 12"
Echocord revisits Mathimidori's Akebono LP (ECHO 086LP, 2020) with remixes from Deadbeat, FDF, Rod Modell, and Quantec. Late 2020 saw the release of Mathimidori's Akebono on the Echocord imprint, the ten-track collection saw the Mathias Kaden alias deliver a number of collaboration and original productions exploring the realms of dub and the guise's underlying Japanese influences. Here the label revisits the project with an all-star cast of remixes in the dub techno world. Stepping up to the plate first is Deadbeat with his "Dub" take on Maiia', the Montreal based artist shifts focus to tumbling dub echoes, hazy noise sweeps and jittery hi-hats throughout before the "FDF Reshape" of "Soso" lays down a gyrating drum groove atop expansive reggae vocal shots and an ethereal, billowing atmosphere. Deepchord's Rod Modell deliver his first "Version" of "Ork" next, as expected the pioneering dub techno artist offers up a typically classy interpretation fueled by hypnotic, chanting voices, the originals fluttering chords and a pulsating low-end drive. Quantec takes on "Akari" next for a refined and reduced offering, laying down minimalistic percussion and subtly nuanced chords before Modell's "Dub" take on "Ork" completes the release, as the name would suggest adding a more hypnotic and dubbed out aesthetic to things to contrasting his former remix.
CAT #: ESPDISK 5051LPBYRON, RAYMOND Bond Wire Cur LP
In a two-decade career, Raymond Byron Magic Raposa has recorded six albums as Castanets, another as Raymond Byron and the White Freighter, and has worked with musicians ranging from Annie Clark (St. Vincent), Matthew Houck (Phosphorescent), and Sufjan Stevens, to Liz Janes, Jana Hunter, Nathan Hubbard (Trummerflora, Cosmologic), and John McCauley (Deer Tick). Over the course of that time, his music has been called part of the new weird America movement, freak-folk, psychedelic folk, and indie folk. Bond Wire Cur is as surreal and desolate and haunting as anything he's done. Collaborators on the album are many (Cory Gray, Erik Clampitt, Pony Domer, Jason Stinson, Lauren K. Newman, Kimba Kuzas, Ron Burns, Paula Barry, Coty Dolores Miranda, Josh Cole), yet the sound of the record is stripped-down and stark. It is a crucial chapter in his career and in ESP-Disk's drive to revive weird rock."Strong and weird. Using ancient ingredients these little vignettes grow sneakily large and become some new kind of food. It's beautiful and Ray's finest record yet." --Matthew Houck (Phosphorescent) on Bond Wire Cur."Raposa's skill as a singer and a lyricist are inextricably linked. His voice has a drifting, spectral quality that's perfectly suited to his overlapping images. Like John Ashbery, he's able to sustain pointed ambiguity for the duration of a composition, talking all around the thing without saying it." --Brian Howe on Castanets' First Light's Freeze for Pitchfork.
FEEDING TUBE RECORDS
CAT #: FTR 639LPGENDRON, MYRIAM Ma Delire - Songs of Love Lost & Found 2LP
Repressed. "It has been a while since the release Myriam's acclaimed 2014 debut album, Not So Deep as a Well (FTR 146-4LP). The intervening years have brought a smattering of live performances, a bouquet of children, Trump's Pandemic, and much more . . .Different concepts for a new album were broached, but the seed of Ma Délire was planted when Myriam recalled a paper she written in university. It was about Leonard Cohen's recording of "The Lost Canadian (Un canadien errant)" from Recent Songs. Ostensibly a cover of an old Quebecois ballad, Cohen stripped away the specificity of the lyrics, tying the song's titular figure to the archetype of 'The Wandering Jew'.The theme of this paper returned to Myriam when she had a residency at the Old Mill in Le Bic, QC in August 2016. Benoit Chaput had turned her on to the traditional tune 'Au Coeur de ma Délire,' from a 1971 album by Dominique Tremblay and Philippe Gagnon. The song was so haunting, she decided to record it right there in the Mill's boat repair workshop. That is the very recording used here . . .This started Myriam musing about how the end of the Catholic hegemony in Quebec had the unanticipated consequence of making people think less of traditional Quebecois folk music, because so much of it was soaked in the blood of the lamb. It made sense this music should be explored and updated despite its dogmatic origins which Cohen had proved could be effectively expunged . . .Just as the world was shutting down, Myriam was awarded a grant which allowed her the time and space to fully investigate and develop this material. She had spent years sifting through traditional music from Quebec, France and the U.S., highlighting parts of songs and ideas she liked, discarding some she found abhorrent, and merging the good bits with her own writing or other cannibalized shards. At some juncture she flashed on this work's common thread -- its thematic roots were always in one type of romantic longing or another. And so, this album came together during the dark days of the General Lockdown. Mixing vocal tracks with instrumentals, singing in both French and English, using a syncretic blend of original, modern and traditional lyrics, Ma Délire fearlessly wanders through a universe of its own invention, daring us to open our minds wide enough to take it all in.Myriam initially recorded with just guitar and vocals. But when she began working with the sound engineer Tonio Morin-Vargas, he had some insightful suggestions about additional instrumentation that might broaden the album's sound without confounding it. Myriam had already planned to ask her friends, Bill Nace and Chris Corsano, to add some things, so the whole shebang evolved as organically as most great records do..." --Byron Coley, 2021
GLOSSY MISTAKES (SPAIN)
CAT #: GLOSSY 010LPSTEVIA/SUSUMU YOKOTA Fruits of the Room 2x12"
Reissue, originally released on CD in 1997. In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room (GLOSSY 010LP) and Greenpeace. Recorded under his Stevia alias for Tokyo techno pioneer DJ Miku's Newstage Records/NS-COM, they were Yokota-san's homage to the foundational days of club music in Japan. Glossy Mistakes present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san's oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock, and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius. When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san's social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac, and William S. Burroughs electrified the air. By 1996, the moment, brilliant and blinding as it was, was over. "We all felt that the rave scene fizzled out," DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. "At the time, we saw eye-to-eye, with an implicit understanding of each other," he explains. "Even now, twenty-five years later, I am confident it was like that."
CAT #: GOO 020LPSONIC YOUTH Sister LP
2022 repress; LP version. "One of Sonic Youth's most beloved albums, 1987's Sister incorporated the dissonance of their earlier releases into more traditional song structures. It's an innovative and thrilling work assuredly delivered by a band at the peak of their powers. Reissued on the band's Goofin' imprint, this 2016 pressing includes a digital download card with the vinyl edition."
I DISCHI DI ANGELICA (ITALY)
CAT #: ANGELICA 050CDRILEY, TERRY Organum for Stefano CD
Organum for Stefano, the third record that I Dischi di Angelica dedicates to the work of Terry Riley, represents a significant example of "coming full circle": indeed, in 1997 AngelicA Festival organized a concert in Bologna for Terry Riley and Stefano Scodanibbio -- it was their first tour together, and the beginning of a collaboration that would last for years, promoting their first album Lazy Afternoon Among the Crocodiles, recorded in the Shri Moonshine studio in Riley's home between 1994 and 1995. After his magnificent piano solo at the 2000 edition, AngelicA invited Riley back in 2013 to dedicate a special tribute-portrait to him, presenting his music in a series of concerts held in three different cities (Bologna, Modena, and Lugo), with different line-ups: The 3 Generations Trio (with Tracy Silverman and Gyan Riley); the ARTE saxophone quartet from Switzerland; and indeed a concert, commissioned as a world premiere, dedicated to Stefano Scodanibbio who had passed away the year before, in January 2012. The venue selected for the concert was the Basilica of Santa Maria dei Servi, hence Riley decided to use its historic Tamburini opus 544 pipe organ for the concert paying homage to the memory of Stefano. The organ was built in 1968 based on a design by Luigi Ferdinando Tagliavini, with a total of approximately 5000 pipes divided into 60 registers.As Riley himself explains in the liner notes: "... Stefano and I had a long history of touring and playing concerts together and one of the features of our concerts was always an arrangement of a vocal raga for bass, voice and tamboura. Stefano, although not trained in Indian classical music, had an uncanny ear for the right choices in pitch and rhythm to accompany my traditional vocal renditions. Two of Stefano's favorite ragas were Malkauns and Bageshri, late night ragas with deep feelings ideally suited to the profound sounds emanating from his string bass. The concert was completely improvised, introducing the melodies of ragas Malkauns and Bageshri, both vocally and in the harmonized organ passages of an intuitively structured form. The last section is an improvisation upon the passages of my composition 'Simply M...', a piece I frequently played for Stefano."The result was a very precious concert -- the only official recording of Riley on the pipe organ -- which ranges from minimalism to Indian music, grandiose Bachian architectural constructions, even progressive echoes -- in a kaleidoscopic flow of ideas which, both spontaneously and with a great clarity of intention, travels through moments and reminiscences of the respective musical identities and experiences shared by the two musicians.
CAT #: IMPREC 140LPOLIVEROS, PAULINE Accordion & Voice LP
Pauline Oliveros' Accordion & Voice is available on LP for the first time since it was originally released in 1982. Cut at Golden and pressed at RTI for maximum fidelity. Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations. A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the US West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings."Accordion & Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played 'Rattlesnake Mountain'. I followed the feelings and sensations of my many experiences of the mountain -- the changing colors of the season, the breezes and winds blowing through the grasses and trees. 'Horse Sings From Cloud' taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space. My thanks to Important Records for bringing these pieces to be heard again." --Pauline Oliveros, 2007
CAT #: IMPREC 141LPOLIVEROS, PAULINE The Wanderer LP
Pauline Oliveros's The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity. An utterly essential document of early American minimalism from Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice (IMPREC 140LP). "The Wanderer" is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ?. Part I, "Song", is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, "Dance", demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures. The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed January 27, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting. "Horse Sings From Cloud", written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of "Horse Sings From Cloud" has been recorded on Accordion & Voice. An early version of the score reads, "Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it." This time, "Horse Sings From Cloud" is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.
CAT #: IMPREC 507CDWANDERWELLE Black Clouds Above The Bows CD
The Amsterdam-based collective Wanderwelle presents the first entry of their trilogy for Important Records, dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. Black Clouds Above The Bows consists of electro-acoustic threnodies for an environment at risk. Wailing odes express and examine the destructive activity of intensifying storm systems that are enhanced by the climate crisis. First-hand experiences with coastal damage and meetings with local maritime experts on the subject inspired the artists to compose this album. Antique cavalry trumpets play a central role in the album. The instruments, recorded and manipulated by Wanderwelle, sound an environmental alarm in the same manner as they were once used to warn men on the battlefield. After more than a century of silence, they are once again fulfilling their purpose. Starting out as menacing tones, the brass progresses into blaring noises and gets more aggressive as the album continues, resulting in a cacophony across a tumultuous sea. With digital alterations, the natural trumpets were used beyond the range of the harmonic series and their original pitch. Furthermore, their bright timbre is reminiscent of the songs of the sirens in Greek mythology, whose bewitching tones lured ancient mariners to their doom. A fitting analogy for our lack of modern leadership and march towards ecological catastrophes. A great deal of inspiration was found in maritime superstition and the vast number of bad omens. For ages, these ill signs are known to have preceded the demise of seamen. This theme felt equally suited to the current environmental disasters and the larger crises yet to come; the writing's on the wall. Samuel Taylor Coleridge's major poem?"The Rime of the Ancient Mariner", served as further inspiration for the bleak mood of the album. Transmuting the original characteristics of acoustic instruments is a recurring technique used in the making of the trilogy. The sounds generated by these processes are combined with recorded electronics and archival recordings. Later in 2022, All Hands Bury The Cliffs At Sea, the second part of their trilogy, will be released on vinyl. The concluding part is currently nearing completion.
CAT #: JPR 073LPFALLEN ANGELS, THE The Fallen Angels LP
"The first-ever vinyl reissue of The Fallen Angels' 1967 debut album! An unsung classic of '60s psychedelia. On limited purple lilac vinyl. Mastered by Kevin Gray from the original master tapes. Pressed at RTI."
CAT #: JPR 074LPFALLEN ANGELS, THE It's A Long Way Down LP
"The Fallen Angels' sophomore album, It's A Long Way Down released in 1968. A very rare and in demand psychedelic album that lives up to the hype. On limited candy apple red vinyl. Mastered by Kevin Gray from the original master tapes. Pressed at RTI."
CAT #: JPR 075LPFLAMIN' GROOVIES Shake Some Action LP
"Flamin' Groovies seminal album Shake Some Action (1976). Taking notes from the British Invasion and inspiration under the San Francisco sun. Earning a perfect five-star review from AllMusic and an 8.5/10 from Pitchfork. On limited shamrock green vinyl. Mastered by Kevin Gray from the original master tapes. Pressed at RTI."
CAT #: KOM 431EPELISABETH, NICKY Celeste 12"
Kompakt fans should have been familiar with the name Nicky Elisabeth for some time now. At the beginning of 2019, Nicky joined the Kompakt family and from then on was spotted more and more often not only at Kompakt events, but also in the line-ups of renowned festivals (DGTL, Strafwerk, amongst others) and clubs. And who doesn't remember the legendary "Kompakt Pop Up Party" in October 2019 during the Amsterdam Dance Event, streamed live from Nicky's living room, where together with Michael Mayer and Rex The Dog she finally conquered Kompakt's hearts in a flash... Nicky Elisabeth lives and works in Amsterdam and is one of the resident DJs of De Marktkantine, one of the most established clubs in the Dutch capital and long-time host of Kompakt parties of all kinds. Anyone who has experienced one of these parties there will find much of the special atmosphere and punchy sound of those nights in Nicky's Kompakt debut 12" Celeste. It seems obvious to interpret the two tracks "Celeste" and "Say" as a kind of loving homage to the Kompakt sound of the last three decades. With sparing means Nicky manages to elicit a maximum of energy and catchiness from her two tracks, always carried by a sure instinct for breaks and the right timing for small escalations -- something that good DJs simply have in their blood. In the end, it's always about the dramaturgy. The two remixes of the title track "Celeste" from the hands of the grand masters Robag Wruhme and Roman Flügel are no less "celestial" than the original. Robag Wruhme in particular gives the piece something wonderfully floating and dreamy in his arrangement, as he also managed to do on his 12-inch Yes/Calma Calma (KOM EX115EP). Roman builds in little deconstructions here and there, sometimes going left, sometimes heading right, to finally let himself be carried away by the good-humored nineties vibe. One can hardly wait to finally experience all this on the dancefloor again.
CAT #: KOM 448EPVOORN, ORLANDO So Deep 12"
For over three decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check "Game One" his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format, to name a few. He maintains a relentless release schedule, and we are very grateful that he found the time to make his return to Kompakt after his well received 2021 Internal Destination EP. The track "So Deep" lives up to the title. A soulful vocal and sincere house beat simmer through an eerie soundscape loop. "Deeper Shades" keeps the vibe of the A side and makes for a serene and moody deep house journey of epic proportions. Last but not least, "March Of Freedom" brings out the best of Orlando's visionary production. Sweeping synths and sounds cascade into a momentous track that fits the peak time or in those eternal late-night sets.
CAT #: KOM 451LPPEREL Jesus Was An Alien LP
LP version. The dancefloor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from? "Jesus Was An Alien is a discourse about whether Jesus was an actual alien," she explains, "but also a social debate about what is and implies religion today." She offers up her provocative second record -- her first on Kompakt -- as a soundtrack for the listener's own journey through the intricacies and ironies of modern belief. Picking up on the themes she brought to her debut, the 2018's LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s -- Hot Chip, Simian Mobile Disco, Justice -- to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, "I feel emotions and colors piling up inside me . . . My tracks are color streams that tell a story." Jesus Was An Alien is not just multicolored -- it's multi-lingual too, slipping in-and-out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of "The Principle of Vibration"). The album features Perel's voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track. "Jesus Was An Alien" stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson's proclamations growing more fervent over the song's sensual stride. Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on "Matrix"; the delirious blur of ghostly chimes and disembodied voices of "Religion"; and the retro radiance of "The Principle of Vibration", in which Perel exhorts you to "come on and vibe" over an athletic riff and shuffling percussion. "Kill The System", meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer "Am Kanal" starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs. The variety throughout Jesus Was An Alien underlines Perel's purpose in this latest project; she's experimenting her way to answers -- or maybe just more questions.
CAT #: KOM 452EPBLEEP GIGAVERSE NFT 12"
Bleep was the hype par excellence at the beginning of the techno movement in 1990-91. Bleep -- inspired by the beeping sound of small toy robots -- stood for a phase of good mood and sounds that had never existed before. LFO with their groundbreaking track of the same name and Tricky Disco were two protagonists of those happy days. More than 30 years later, Jürgen Laarmann (editor of the legendary Frontpage Magazine 89-97, promoter of Love Parade and Mayday 91-97, Bash Records 91-94) had the thought that nothing is missing in current electronic dance music as much as bleep. The idea came about when discussing how to create a soundtrack for the art and techno hype of the day and the crypto art moving currenting stirring up the art market. The comeback of bleeps in a new guise is surely a tried-and-true remedy: the Bleep Gigaverse makes the blockchain shake. With his old friend and Bash Records buddy Mijk van Dijk, Laarmann developed the "NFT" anthem with the striking Fazer bullet intro and a fat 2022 bleep that has been extensively tested on post-Corona dancefloors. Club legend Justus Köhncke (Whirlpool Productions among others) himself a big Bleep fan and Laarmann's neighbor, contributed a house mix. Most recently, they managed to bring the great Michael Wells -- the Godfather of Bleep into the Bleep Gigaverse. He contributes as Tricky Disco with all new bleeps and also with a hardstyle mix, so the EP offers a spectrum with really different mixes.
CAT #: KOM EX118EPLETYAGO, ANFISA Speicher 118 12"
Siberian born and since 2010, a proud resident of Naples where her musical journey began, Anfisa Letyago has brought to the next generation of techno DJ/producers a sincerity and passion few others can. Of which she is successfully channeling to an incredible growing fanbase. From her releases on Drumcode, Rekids, and her newly minted imprint N:S:DA, Kompakt welcome her to their long running Speicher series. "Keep Flight" is bare and punishing. Taking cues from the greats -- think early Hood, Broom, or Surgeon -- Anfisa takes you down a relentless wormhole fortified by a pulsing vocal and EBM synth. In contrast, the flip side "Rhythm Tension" is a more slowed down, acid squelched affair where Anfisa's vocals keep the vibe fully in check for those feel good moments everyone is currently needing in a DJ set.
CAT #: KOM EX120EPROMBOY, MARC Speicher 120 12"
The kick drums of tomorrow once again begin to rumble in the smog infested, strobe-stricken clubs of today. Kompakt's Speicher series always strives to provide the dance floors with a soundtrack to grant our mind and body temporary refuge and escape. Kompakt feel it is more than ever needed considering the darkness that surrounds us all in these times. Kompakt welcome back Marc Romboy. A gifted producer, DJ and friend that has been behind the decks as a key supporter of Kompakt's music since the beginning. Beyond that, Marc is an astute musician, with releases on many of the esteemed; from Ovum to Innervisions and of course his own Systematic Recordings his music is incredibly varied. They say that the third time is a charm, but in this case he returns to our Speicher series again with a two track EP that feels more like a sequel that is true to the excellent consistency of his previous output. Armed only with a Buchla Music Easel, the Roland TR-909 and an Arp 2600, "Randomized" is pure techno as it tweaks and twists into a complete frenzy. Marc pays homage to the legendary Californian synthesizer inventor Don Buchla with the very trippy churner, "Monsieur Buchla".
CAT #: KOM EX121EPEXTRAWELT/1979 Speicher 121 12"
A double A side from two artists on Kompakt's beloved Speicher series hasn't come in quite some time so the label figured it was high time for the return. A full dose of floor-filled power for the festivals of 2022. The duo that are Extrawelt should be no strangers to your ears -- since you last heard from them in 2019 when they took over Speicher 110, they've released with Feel My Bicep, Further Electronix, Watergate, Dream Awake, Traum, and of course Cocoon. "Stabilo" is raw and powerful, a synthesis of their analog prowess with a beat that is just unstoppable. Say hello to 1979 as comes onboard with his debut with Speicher. Famously known for the HOSH collaboration "Midnight" (Ministry Of Sound) and fresh off a remix for Speicher alumni Anfisa Letyago, Kompakt happily feeds you a summer bomb to nourish your peak time palate. A provocatively raw bass drum and dirty synth keep "Vulcano" in an eternal eruptive state. Take every breath as an event.
CAT #: KOMP 171CDPEREL Jesus Was An Alien CD
The dancefloor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from? "Jesus Was An Alien is a discourse about whether Jesus was an actual alien," she explains, "but also a social debate about what is and implies religion today." She offers up her provocative second record -- her first on Kompakt -- as a soundtrack for the listener's own journey through the intricacies and ironies of modern belief. Picking up on the themes she brought to her debut, the 2018's LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s -- Hot Chip, Simian Mobile Disco, Justice -- to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, "I feel emotions and colors piling up inside me . . . My tracks are color streams that tell a story." Jesus Was An Alien is not just multicolored -- it's multi-lingual too, slipping in-and-out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of "The Principle of Vibration"). The album features Perel's voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track. "Jesus Was An Alien" stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson's proclamations growing more fervent over the song's sensual stride. Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on "Matrix"; the delirious blur of ghostly chimes and disembodied voices of "Religion"; and the retro radiance of "The Principle of Vibration", in which Perel exhorts you to "come on and vibe" over an athletic riff and shuffling percussion. "Kill The System", meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer "Am Kanal" starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs. The variety throughout Jesus Was An Alien underlines Perel's purpose in this latest project; she's experimenting her way to answers -- or maybe just more questions.
L'INVITATION MUSICALE (FRANCE)
CAT #: INVMUS 1001CDBON VOYAGE ORGANISATION La Course CD
La Course is the second album from Adrien Durand's multifaceted, neo-disco instrumental band, Bon Voyage Organisation (BVO), released in 2020. On this record, the band takes a jazz turn while keeping the neo-disco grace that is their trademark. A real kaleidoscope of in?uences, from the spiritual jazz of Pharoah Sanders to the ambient fourth world of Ryuichi Sakamoto, La Course resembles above all those exotica theme albums of the 1950s and 1960s: it o?ers a variety of atmospheres and borrows from di?erent musical languages, without necessarily trying to expose one more than another. In addition to BVO, Adrien Durand has, in recent years, produced records for others (Amadou et Mariam, Bagarre, Papooz). What stays in one's mind as one listens is less a name than a very French type of artists who, from Pierre Barouh to Michel Colombier and Hector Zazou, have made their art a way of talking about the world around them or of which they dreamed. A jazz turn showcasing a range of influences, from spiritual jazz to ambient and exotica.
CAT #: INVMUS 1001LPBON VOYAGE ORGANISATION La Course LP
LP version. La Course is the second album from Adrien Durand's multifaceted, neo-disco instrumental band, Bon Voyage Organisation (BVO), released in 2020. On this record, the band takes a jazz turn while keeping the neo-disco grace that is their trademark. A real kaleidoscope of in?uences, from the spiritual jazz of Pharoah Sanders to the ambient fourth world of Ryuichi Sakamoto, La Course resembles above all those exotica theme albums of the 1950s and 1960s: it o?ers a variety of atmospheres and borrows from di?erent musical languages, without necessarily trying to expose one more than another. In addition to BVO, Adrien Durand has, in recent years, produced records for others (Amadou et Mariam, Bagarre, Papooz). What stays in one's mind as one listens is less a name than a very French type of artists who, from Pierre Barouh to Michel Colombier and Hector Zazou, have made their art a way of talking about the world around them or of which they dreamed. A jazz turn showcasing a range of influences, from spiritual jazz to ambient and exotica.
LAUT & LUISE (GERMANY)
CAT #: EULLE 001LPTAKESHI'S CASHEW Humans In A Pool LP
Takeshi's Cashew are a newly formed cosmofunk group that explores the boundaries of club culture, world music, and '70s psychedelia. Their diverse musical background fuses to a colorful vision of their respective genres embedded in a club-like beat framework. Takeshi elevate their often complex arrangements to beautiful composition with a danceable foundation. During the summer of 2020, Takeshi's Cashew recorded their debut album Humans In A Pool in their tiny DIY studio in Vienna. A journey into cosmic krautrock, cumbia, Afrobeat, and disco, which can only be surpassed by one of their live performances -- for which they teamed up with Pojpoj Agency, who already feature artists like Khruangbin, l´Eclair, and Yin Yin.
CAT #: LULLP 006LPARUTANI Intertwined 2x12"
Modest techno for mindful people, second edition. Laut & Luise present Arutani's newest album, a true evolvement of its predecessor. Still true to the artist's handwriting, with a minimal and subtle character, hinting details and bold elements. However even more a unique listening experience and a statement on its own.
LEISURE SYSTEM (GERMANY)
CAT #: LSR 026LPDOPPLEREFFEKT Neurotelepathy 2LP
Double LP version. Dopplereffekt strikes back with another album masterpiece. Who controls the mind controls the body. After three years of experimentation in isolation, Dopplereffekt have emerged with Neurotelepathy, an oracular narrative of cerebral entanglement and advancement. The sleek mathematical models of 2017's Cellular Automata have evolved into these synaptic interpretations, transferences, and modifications, rejecting binary expectations to meditate on the possibilities and pitfalls of what's to come. With their second LP and fifth release in total on Leisure System, the duo of Rudolf Klorzeiger and To-Nhan have themselves achieved a near-telepathic capacity for collaborative thought and mechanical construction. They continue to use live appearances to present experimental trials of theoretical models, and that effort is heard in the sizzle and swing of the percussive highlights here, programmed with a serious depth and wriggle that reflect both an extension of and return to form. Considerations of the machine-human interface, neurological realities and physical probabilities dominate. But these tracks are economical and precise, glittering with emotional depth and cinematic effects. The album's core, a three-act movement of symphonic uncertainty and revelation, marks one of the pair's most evocative compositions in a career full of them. Territory is monitored, traced and scanned, resulting in unexpected modulations. Underlying systems are questioned, competing mindsets animated and mutated: brain-to-brain, brain-to-machine and beyond. Neurotelepathy processes these transformative mental, psychological and transgenerational states both traumatic and triumphant. "Epigenetic Modulation" features Christina Vantzou.
LIVE AT ROBERT JOHNSON (GERMANY)
CAT #: PLAYRJC 076EPALBERT, JOHANNES Lemonade Fizz EP 12"
Get that summer feeling by having a delicious lemonade fizz... Frank Music label head honcho Johannes Albert comes to the rescue with four splendid recipes. Start right away with "Lemonade Fizz" where Johannes manages to put the ingredients needed for refreshment just in the right balance: Glasses clink while the bass drum pays a slight homage to Manchester's all-time heroes New Order and dancers are driven straight to the floor again by that menacing yet subtle siren. Listening to "Dorschd" aka thirst feels exactly like the title suggests: You're on the floor, dancing, sweating and desperately yearning for a drink. You want more and you can't stop drinking as soon as you've put that glass to your mouth -- yet this yearning feeling stays with you while getting back on the floor. "Wimbledon" is pure enthusiasm. Johannes dominates the game like no one else. It's fast and cheery building up to a rousing climax: Game, set and match. After such highs it feels just right to join Johannes for "Laurenzi Blues", the melancholic wistful closing track of this beautiful four-track EP -- Johannes Albert's first for Live At Robert Johnson -- but hopefully not his last. Now let's have another drink.
CAT #: PLAYRJC 078LPFLUG 8 Enroute LP
It's dark in the forest. Especially in the "northwest". You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you. Herrmann is far from being unknown in the world of music -- let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's Robert Johnson club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann's pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002. With Enroute Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest -- a quite remote place already in-between the Taunus Mountain range. Imagine life during the lockdown in such a place -- this is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over Enroute. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener "northwest", "Fly By Wire", or the eleven-minute "Dark Trace" you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create. There is a change of mood with "Intercontinental" -- literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus Forest. This is also the place where Herrmann took many photographs of the forest and its trees, including the picture on the cover: this spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of "Bouncing Rays". Enroute is done all alone and in total isolation. But it also invites the listener to be a part of this lonely world.
MENTAL EXPERIENCE (SPAIN)
CAT #: MENT 017LPLADY JUNE Lady June's Linguistic Leprosy LP
2022 restock. Mental Experience present the first vinyl reissue of Lady June's Linguistic Leprosy, originally released in 1974. The legendary debut album by Canterbury scene pivotal figure, performance poet, painter, and experimental musician June Campbell Cramer, better known as Lady June. Produced by Kevin Ayers, who also plays on the album along with Brian Eno, Pip Pyle (Gong, Hatfield And The North), and David Vorhaus (White Noise). Originally released by Virgin's budget imprint Caroline (home also of artist like Faust With Tony Conrad, Gong, Lol Coxhill, etc.), Lady June's Linguistic Leprosy is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well experimental/sound poetry/art-rock explorers. This cult album was included on the legendary Nurse With Wound list. Remastered sound; Insert with photos and liner notes by Ayers archivist Martin Wakeling. RIYL: Gong, Catherine Ribeiro, Laurie Anderson, Boards Of Canada, Mopsie Beans.
MULE MUSIQ (GERMANY)
CAT #: MUSIQ 269LPKZA Dig And Edit 2LP
Japanese veteran DJ and producer KZA (half of DJ duo Force Of Nature) released his first solo album in 2009 on CD only. KZA is one of best DJs in the modern disco/house scene in Japan and also well known as vinyl digger. Dig And Edit was made with his wide music knowledge from his big collection of vinyl. Finally, this epic modern disco album on double-LP. Edition of 300.
CAT #: MUSIQ 274LPSAIKOSS Kossaiko LP
Soft piano notes kiss trippy electronic tones. Kossaiko, the only collaborative record that Japanese piano player Saiko Tsukamoto and globally known electronic producer Kuniyuki Takahashi ever produced, is an unmissable profound soft classic music burner. Together they composed and produced an eight-chapter strong deeply absorbing narrative whose enthralling story arc dives profound into authentic drama zones, that sound like they jumped right out of a Claude Sautet movie. Originally released in 2007 as CD only, the perfectly put together long player now enters the world for the first time in a vinyl edition that is tragically hip. Deeply starry-eyed compositions full of minimalistic piano melodies that creep, twist, and dance around unobtrusive electronic notes who never call the tune, but always elevate the spectacle into higher electronic spheres. In the center of each between five- and nine-minutes long composition is the piano play of Saiko, gently hitting the keys, giving space to each note to vibrate in an endless Pauline Oliveros way, drifting until the very last sound vanish. around them, Kuniyuki plays his charming electronic tricks, opening the space for tones that sometimes pulsate, sometimes flow the ambient way. Furthermore, occasionally a guitar notes pop up or accordion melodies cover the sorcery with a severely romantic veil. Modern classical music, that has no fear of electronic meltdowns, that embraces digital tones while staying organic in its very inner circle. A wise man once said: "when words leave off, music begins". Those who fall for the eight poems of Saikoss will lose their speech and in return get pleased all agitations of their soul.
CAT #: MUSIQ 275EPDE KUNOVICH, SIMONE Mondo Nuovo 12"
Mule Musiq announces Mondo Nuovo from a new artist from Italy. Simone De Kunovich has released one single on Superconscious Records which is run by Fantastic Man. Marco from Milano sent Mule Musiq a demo and the label are fascinated. All tracks are first class tropical, obscure deep house.
CAT #: MUSIQ 276EPLAWRENCE Birds On The Dancefloor 12"
It's a dancefloor edit of Lawrence's latest conceptual album Birds On The Playground which is made for Mule Musiq's listening bar Studio Mule in Tokyo. There are four Lawrence's elegant deep house stuffs. It never gets tired, it's always most beautiful house music.
CAT #: MUSIQ 278EPALBRECHT, ALEX A Clearing 12"
Alex Albrecht is a new artist on Mule Musiq. Melbourne based producer and label owner of Analog Attic. Half of Albrecht La'brooy, they have released two albums on the sub-label of R&S "Apollo". His latest album Campfire Stories on his label is a beautiful mixture of new age, modern classical, and electronic music. It sounds like a child of Lawrence. This new release is a sequel of latest album. Home listening elegant slow house music. If you like Lawrence or Larry Heard or that kind of style, you will like it.
MUNSTER RECORDS (SPAIN)
CAT #: MR 151LPVA Radio Cramps: The Purple Knif Show 2LP
2022 repress, first released in 1999. Radio Cramps: The Purple Knif Show features the much talked about radio show of summer of 1984 that featured Lux Interior playing his favorites and obscure-sets 7" records while howling, buzzing, and raving about them. It includes such classic and influential stuff like Frantics, The Sparkles, Link Wray, Billy Strange, Mad Mike And The Maniacs, Vic Mizzy, The One Way Streets, The Swamp Rats, Deadly Ones, The Troggs, and many more (up to a total of 28 tracks!)... Absolutely entertaining and instructional especially by Lux's comments/noises between tracks. The gatefold sleeve artwork has been specially designed by Lindsay Hutton (Next Big Thing and President of the Legion of The Cramped - The Cramps Fan Club). Also features J.J. Jackson & The Jackals, The Trashmen, Bill Carter And The Rovin' Gamblers, Tides, Earl Hagan & The Interns, Ted Weems & His Orchestra, Ray Anthony, Grady O'Neal & The Bellatones, Enchanters, Jam Space & The Cadets, Archie Bleyer, Spark Plugs, 5 Blobs, Unknown Artist, Ward Darby And The Raves, and Cozy Cole.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 3045COL-LPMAGMA Wurdah Itah LP
"It was 1974 when Magma's fourth studio album W?urdah Ïtah came out. Originally, the album was released under the name of Tristan Et Iseult as a solo studio film soundtrack by founding member Christian Vander. He recorded the music for Yvan Lagrange's 1872 avant-garde film Tristan Et Iseult. The recordings took place only a month prior to the sessions which produced Köhntarkösz. For these recordings for W?urdah Ïtah, only a core quartet of Magma members took part, including Christian Vander, Jannick Top, Klaus Blasquiz and Stella Vander providing only drums, bass, piano and vocals. Fifteen years later, in 1989, the album was re-released with Magma's distinctive logo. W?urdah Ïtah is available as a limited edition of 2000 individually numbered copies on purple colored vinyl, housed in a gatefold sleeve."
MUSIC ON VINYL: AT THE MOVIES
CAT #: MOVATM 339C-LPSAKAMOTO, RYUICHI Beckett LP
"Beckett is a 2021 action thriller film directed by Ferdinando Cito Filomarino and produced by Luca Guadagnino, who previously worked on Call Me By Your Name. The film follows the story of American tourist Beckett (John David Washington) who is on vacation in Greece. After a devastating car accident with his girlfriend April, he becomes the target of a manhunt. Forced to run for his life, he finds himself falling deeper into a dangerous web of conspiracy. Beckett also stars Boyd Holbrook, Vicky Krieps and Alicia Vikander. The score is composed by Ryuichi Sakamoto -- composer, electro-pop pioneer, buddy to David Bowie, and synthesizer legend. His work since the late Seventies has earned him an Oscar, a BAFTA, a Grammy and two Golden Globe Awards. Sakamoto's music has consistently exuded a profound empathy. Whether leading Yellow Magic Orchestra's cheeky pop, collaborating with cranial ambient artists, or, more recently, confronting his own mortality, Sakamoto's music expresses in a few elegant gestures the haunting richness of life. This is a limited edition contains of 1000 individually numbered copies on translucent red colored vinyl. The package contains an insert with liner notes by Ferdinando Cito Filomarino and Luca Guadagnino."
CAT #: NA 5123LPAMANAZ Africa 2LP
2022 repress on double-LP, including the the "Reverb Mix" version. "Issued in 1975, this is the articulation of Zambia's Zamrock ethos. While other albums -- Rikki Ililonga's Zambia, Witch's Lazy Bones!! -- are competitors, it's hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks -- hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, 'because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed. ' Thus, their 'Kale,' a blues sung in Nyanja, that traced the continent's arc from slavery to Zambia's independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa's vibe ranges from anxious ('Amanaz') to escapist ('Easy Street') to straight-up pissed-off. On the 'History of Man,' his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There's a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu's more restrained 'Khala My Friend,' which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there's the clear Velvet Underground-influence on the nostalgic 'Sunday Morning,' which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release -- and the underground funk of 'Making the Scene.' The album also tackles traditional Zambian music and early-'60s rock -- punctuated, of course by Kanyepa's wah-wah and Mpofu's fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. 'Green Apple' is a civil song, featuring Kanyepa's sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu's and Kanyepa's lead and rhythm guitars, to the vocal harmonies, to the rhythm section's sense of space and time, which allows Africa's funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We've presented them both here as they each have their appeal: it's up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue."
OPTIMO MUSIC (UK)
CAT #: OM 022LPINIT NRGY LP
INIT is Benedikt Frey and Nadia D'Alo. Optimo Music present their long-delayed vinyl release, NRGY. Born out of various art performances and installations, INIT states a logical outcome of Berlin based duo Nadia D'Alo and Benedikt Frey. With heavy use of analog synthesis and drum-machines, INIT rethinks its genre's sonic approach, unfolding a unique and organic, yet alienating sound, somewhere in the mysterious midst of acid, techno, ambient, and krautrock. This is INIT's third album, following two releases on Hivern Discs, and performances at clubs such as Berghain, Robert Johnson, and Pudel Club. INIT say: "'Module', 'NRGY', and 'Time' were reverse extracted out of our live set and re-recorded and re-arranged after we realized how well they work in clubs. It is the first time we worked this way as we tend not to play our compositions live, like we produced them. Mostly we just extract loops out of our production to mess around with in a loose live project, 'Snowglobe', 'Holes In My CV' and 'N.O.D.' were more built up from a studio jam plus a bulletproof-ish arrangement afterwards. Tried and tested on dance floors this is a surefire hit album on the dancefloor, and at home. NRGY!"
OPTIMO MUSIC ARCHIV (UK)
CAT #: OMARCHIV 002LPH.E.A.D. EFS 2LP
The second release on JD Twitch's archival label. "By 1993 I was saturated in acid. Over saturated! Since 1987 there had been an endless explosion of records from across the planet using the 303 and it seemed like the sonic possibilities offered by this little silver box had hit a dead end. And then in 1993, from Germany, came the Blue label with mind-blowing releases by Air Liquide and friends. It felt like a new paradigm, paying homage to Germany's kosmische musik past while paying respect to the Chicago acid house originators while simultaneously looking ahead to a new form of transcendental music. And then -- BOOM! -- the H.E.A.D. EFS double album drops. What is this music? Was it beamed in from the future? It ticked every box I loved. Endlessly hypnotic and expertly programmed with an effortless groove that sounds as if Jaki Liebezeit's syncopations have been absorbed by the machines. It is acid in ways my ears hadn't heard before, the little silver box tweaked in new, exhilarating directions. Made by future Optimo ally Khan, alongside uber talent, Kerosene and recorded in a Brooklyn kitchen, this double disc set became an eternal home listening and backroom favorite. It is also a club favorite too, perhaps even more so now than it was then. It is endlessly mixable and playable at multiple speeds. A genuine classic long overdue a second life." Fully remastered 2021 edition of this 1993 gem comes with new artwork on a double vinyl pressing.
CAT #: PXC 075LPDE CRECY, ETIENNE Super Discount 2LP
Pixadelic present a reissue of Étienne de Crécy's debut album, Super Discount, originally released in 1996. A founding classic of the French sound, Étienne de Crécy is one of the most influential figures on the electronic music scene and one of the most inspired producers. Over time, this record has become one of the pioneering records of the French Touch and a founding classic of electronic music, both in France and abroad. It was a critical and commercial success from the start, an icon of its time. Features Minos, La Chatte Rouge, Mr. Lean, Mooloodjee, Alex Gopher, and DJ Tall. "a clever and classy introduction to Gallic dance music" --The Guardian
CAT #: R 093CDSCHMIDT, DANIEL Cloud Shadows CD
Cloud Shadows is the third album by the American gamelan composer, Daniel Schmidt. The pieces in Cloud Shadows, which are quite varied and more current than the work represented on his first two albums In My Arms, Many Flowers (R 017CD, 2016) and Abies Firma (R 070CD, 2020), mostly came about each in their own way. For example, the cloud shadows on the mountains of central Nevada, unimaginably old, invited Daniel into their realm, resulting in the opening composition, "Cloud Shadows". The composition "SEOR" developed from the daily repetitions of radiation and relief from his cancer treatments. Also, the death of a close friend plunged the composer into deep emotions but ultimately nudged him over a compositional hump, leading to the creation of the "Sandy Suite". "A River in Delta", dedicated to Lou Harrison and John Cage, utilizes chance operations and a poem written by Cage for Harrison's 60th birthday. Under the direction of Schmidt, these ten pieces were performed and recorded by Gamelan Encinal and students at Mills College between 2017 and 2019. They unveil a compositional evolution, most noticeably the weaving of voice and poetry with gamelan. The lyrics were written by poet Deborah Bachels Schmidt (Daniel's wife), often sung in the style of 19th century lieder. Recital presents Cloud Shadows as a celebration of Daniel Schmidt's 80th birthday, a rich album that continues the exploration of "American" gamelan music via one of its creators. First CD edition of 300; 24-page booklet holding program notes, scores, and photographs."Starting at perhaps age four or five, I would sit on the top step of our front porch, just under the overhang of the roof, and look at the rain. I was transported. I remember quite clearly the transcendent state I would enter. But I learned early to keep my experiences with the rain to myself. At church I would hear references to the 'spiritual.' It seemed to be defined as something beyond everyday life, and that puzzled me, because it sounded much like my own experience when watching rain. I ask you, as you listen to this album, to imagine the rain as I felt it as a child. Please allow this music to flow into you." --Daniel Schmidt
CAT #: SO 002EPTOKE Sattaoja 02 12"
Samo DJ's label Sattaoja is back with release number two. A four-track EP with breaks and beats by Mtkvarze mainstay Toke. The house sound of Tbilisi.
SOULSHERIFF RECORDS (SWITZERLAND)
CAT #: SSLP 006LPLIAISONS DANGEREUSES Liaisons Dangereuses LP
2022 repress. LP version; includes download code. Soulsheriff Records presents a milestone in electronic music, Liaisons Dangereuses' legendary 1981 self-titled debut album, newly remastered and reissued for the first time since 2002. Liaisons Dangereuses still fascinates today, through its innovative sound and the mystery encompassing it. The 10 electrifying songs, produced by Chrislo Haas (DAF) and Beate Bartel (Mania D, Matador) and reinforced by Krishna Goineau's French and Spanish speech-attack lyrics, created a unique style. The album, anything other than a typical Berlin or Düsseldorf thing, became an international favorite. Songs like "Peut Être... Pas" and "Los Niños del Parque" played a decisive role in the development of house in Detroit and Chicago, as well as various forms of European techno.
SUB ROSA (BELGIUM)
CAT #: SR 448LPWEERASETHAKUL, APICHATPONG Metaphors: Selected Soundworks from the Cinema of Apichatpong Weerasethakul 2LP
2022 repress. Double LP version. Black vinyl, includes insert. Apichatpong Weerasethakul is recognized as one of the most original voices in contemporary cinema today. His seven feature films, short films, and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. The compilation album Metaphors contains 14 sound works carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century (2006), Fever Room (2016), and more. Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds that give his films a sense of continuity. In post-production, he's fascinated by the manipulation of these "live" sounds in order to express "reality". This reality doesn't necessary represent the actual sound of the places, it's more of a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire. Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognized as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016). Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues. Metaphors is compiled by sound designers Akritchalerm Kalayanamitr and Koichi Shimizu.
CAT #: SYR 009LPSONIC YOUTH Simon Werner a Disparu LP
2022 repress. Originally released in 2011. "In Spring 2010, Sonic Youth gathered at their Echo Canyon West studio in Hoboken, New Jersey, to watch the rushes of a new film, Simon Werner a Disparu, by French director Fabrice Gobert. They spent the following few weeks recording music which was then shaped as needed to fit the various scenes. For this release, rather than present the small clips of music as used in the film, the band went back in the autumn to the original tapes and re-organized the various pieces for this original soundtrack release, sometimes montaging multiple tracks together, other times extending cues into new sonic realms. The film premiered at Cannes in May 2010 and opened nationwide in France."
TAPETE RECORDS (GERMANY)
CAT #: TR 498LPCARAMBOLAGE Carambolage LP
Restocked on vinyl/; LP version, Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. Britta's passion for the drums ignited in 1974 in Fresenhagen, North Frisia, where she played percussion for Ton Steine Scherben. R.P.S. Lanrue's little sister Elfie-Esther was an obvious candidate. Angie, a child from the streets who joined the commune in 1972, completed the line-up. Carambolage surfed on their very own "North Frisian Wave" -- an epithet dreamed up for their distinctive sound. Shortly before her death in 2004, Britta was interviewed by music journalist Tine Plesch and described how the "girls gang" gave them the freedom to experiment and come up with "these really funny, filthy lyrics". There is a childish, subversive charm to the songs, emboldened by the realization that "we could fool around as much as we wanted." Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo.With the first demo tapes in circulation, Burkhardt "Zensor" Seiler organized a gig for Carambolage in the hip Kreuzberg club SO36. At a time when anything that could be labelled "Neuen Deutschen Welle" (German New Wave) was stamped accordingly, the trio played by their own rules. The eponymous debut album Carambolage, produced by Rio Reiser and R.P.S. Lanrue in the summer of 1980 and released on the Scherben label David Volksmund Produktion, could not be constrained by NDW marketing concepts. Instead, the disc was defined by its "colossal, inventive sound" which fed on Elfie's curiously autodidactic "Fantasiegriffen" guitar style and her "Fresenhagen sparrow" voice, counter-balanced by Angie's organ and inimitable basslines and energized by Britta's relentless drumming. Backed by quirky organ and ragged drums, Elfie spits her lyrics with emphatic simplicity. Once her words are in your head, they stay there. Tracks like "Die Farbe war Mord" hint at a sense of feminist awareness. Carambolage may not have coined the phrase, but "lipstick feminism" became a thing, consciously playing with feminine clichés and hammering them home in performative fashion, rather than boxing them off. Towards the end of the record, vocals and sound are transcended in the monotone shimmer of "22 rue Chenoise".
THESE EYES (GERMANY)
CAT #: EYE 016EPHOMMEN, ANDRE More Than This Remixes Pt. 2 12"
The eagerly anticipated second remix package of Andre? Hommen's More Than This album is set for release on his These Eyes imprint. Following the Remixes Pt. 1, featuring Robag Wruhme and Jonathan Kaspar, Andre? recruits heavy-weight's Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer's remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur's remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it's easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.
CAT #: TO 109USBNIBLOCK, PHILL Working Touch USB CARD
USB in digipak; 11 films, three hours 55 minutes. Films includes: Praised Fan, for bassoon (2016, 17 min) Dafne Vicente-Sandoval, bassoon. Commissioned for the Adelaide Festival, Australia, by Ilan Volkov. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. First Out, for guitar (2015, 22:14) David First, guitar. Completed in November 2015 in Hong Kong. Premiered on Czech Radio in Prague, Czech Republic, Nov. 27 2015. Material recorded at Berklee School of Music, Boston, MA; DreGliss (2015, 19:15) Erik Drescher, glissando flute. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany; V&LSG (2015, 21:20) Lore Lixenberg, voice, Guy De Bievre, lap steel guitar. Material recorded at Johan Vandermaelen's studio in Aaigem, Belgium. Bag (Sept 2014, 21 minutes) David Watson, bagpipe. Material recorded at Berklee School of Music, Boston, MA; A Rooks Pun (2014, 21 min) Ulrich Krieger, soprano saxophone. Material recorded at The California Institute for the Arts, Valencia, CA; Ronet (2014, 21:08) Neil Leonard, tenor saxophone. Material recorded at Berklee School of Music, Boston, MA; Octavio Perc (2014, 20:45) Julien Ottavi, percussion. Material recorded at APO33, Nantes, France; Vlada BC (Nov 7, 2013, 20:00) Elisabeth Smalt, viola d'amore. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. Euph (Nov 2013, 23:40) Melvyn Poore, two-belled euphonium. Material recorded in the Ensemble Musikfabrik studios in Koln Germany; Unipolar Dance (Oct 2 2013, 25:04) Pauline Kim and Conrad Harris, violins and violas (for two violins and two violas, recorded in stereo). Material recorded in Robert Poss's Trace Elements studio in NYC, NY. The music is eleven minutes longer than the film length, so the last music piece is faded at the end of the film, but is complete in the music files which are on the USB memory stick in 24 bit, 44.1."Phill Niblock's music and films contravene the drive of local memory and anticipation integral to much musical and cinematic experience, the sense that each moment is conditioned by what directly preceded it and what came before that, while simultaneously pointing forward to resolutions or further complications, driving toward closure, always toward the sense of an ending in which all threads are tied, all paths satisfactorily closed. This conception of temporality is fundamental especially to pre-20th century Western music, and basic to both conventional narrative cinema and even advanced artists' moving image works . . . The films, I suggest, require a suspension of expectation, the viewer opening himself/herself up to an experience of delight in color, in scale, rhythm, in the unfamiliar; in the visual arrangement of shaded planes on a flat screen surface that simultaneously depicts figures in recessive space. The films demand an embrace of a continuous presence, with future and past fading into irrelevance as they recede from and come into being. Only the present has import. Conventional cinematic concepts like closure, montage, and development are out of play. It is the joy of the moment based on the hypnotic magic of the recording of motion, of sound, of time -- relatively recent achievements in the long history of human technology." --Grahame Weinbren
CAT #: UNROCK 022LPSQUARE 9 Tsunami .2 LP
Recorded live on Sept. 22, 1991 and originally released by visionary operator Nick Schultz on Majora Records, Tsunami .2? was, still is, and will remain a mysterious album. Because the music didn't represent or sound like either of the bands involved, they decided to call the group Square 9 and chose to leave everybody's names off of it. No further information was given, only "Recorded at Grand Theater, Buenos Aires, Argentina". Until today, nobody knows exactly who was behind the record. Rumors came up that it was part of the Sun City Girls legacy, but the "truth" lingered in the dark. So unusual and experimental the approach to record this album was, so remarkable it finally turned out. By the time it was released back in 1992 only a few dedicated core followers were aware of its existence. Everybody played anything and everything on this recording, no specific instruments are assigned to players. Different instruments, various percussion instruments, a piano and other sound sources. Insiders maybe recognize the voices of Su Ling and Alan Bishop or a piano sounding like Richard Bishop playing it. Some of the live sounds have been treated and processed live by W. David Oliphant. It was an impromptu series of improvisations by Sun City Girls and members of Life Garden (W. David Oliphant's main working group after Maybe Mental) and probably the last recordings made by members of Sun City Girls before the band fully re-located to Seattle. In retrospect it is a belonging and relevant part of the history of both bands, which needs to be broadcasted to a wider audience. 30 years after the recordings were made, a remastered version of the album is made available through Unrock. While the original release was two side-long tracks, the remastered version is split into six separate tracks, remixed and mastered by W. David Oliphant. Square 9 were (in alphabetic order): Alan Bishop, Richard Bishop, Charles Gocher, Su Ling, W. David Oliphant, Peter Ragan. Vinyl cut by Peter Koerfer at Ivory Tower. Edition of 400.
CAT #: UNROCK 023LPHALABI, MEPHISTO The Arabic Room LP
A critical meditation on variations of Orientalism practiced by Arabs themselves, as well as those who were born and raised within the diaspora. It originally began as a documentation of extended drum techniques, but eventually morphed into a project of more ambitious scope. Having an open timeframe, Julius Masri gave himself reasons to include all the instruments he obsessively picked up and learned over the years. The work accumulated intentions and guiding principles, and it became rather autobiographical in nature. Some of the tracks either refer to or were recorded in the actual physical spaces he grew up near, in Tripoli, Lebanon during the 1980s. The Arabic Room the title refers to is the sitting room in his family's house that was decked out in hyper orientalist exoticism, mashing together furniture, fixtures, paintings from all over the Arabic speaking world. The sitting room, or salon, is common in Lebanese homes made specifically to host and entertain guests. Rimsky-Korsakov's Scheherazade and other western made Orientalist cultural artifacts not only had ubiquitous presence in the house, but also found their way onto TV shows and commercials. After moving to the US, his parents recreated this room in their home. Additionally, his father's generation was one that saw their country transform from a post-agrarian trading society after WWII to a center of banking and finance within the span of a few decades. The sense of some lost Eden-like innocence of the interwar years permeated much of the media that was available to him growing up there. This album is neither ironic nor some judgmental pronouncement. Call it critical nostalgia. For Masri, there isn't much difference between this form of exotic fantasy creation, and his own adolescence steeped in comic books and listening to bands like Voivod. They both seem to him part of what's known in German as Fernweh, "a nostalgia for a place one's never been". All instruments are performed by Masri himself, (drums, Egyptian rababa, Azeri kamancheh, circuit bent electronics, keyboards, hammered dulcimer, and vocals). Genre-hopping is foundational to the album's ethos; jazz, metal, experimental, electro-chaabi, and sound collage all appear within the framework of Arabic music, creating the sense of adventurous possibilities best associated with well curated mixtapes. Edition of 300.Julius Masri is a Philadelphia-based multi-instrumentalist and performer/composer, originally born in Tripoli, Lebanon. The Arabic Room is his debut solo-album. Currently he is working and playing with members of the Sun Ra Arkestra.
CAT #: VAMPI 210LPLINARES Y SU SONORA, ALFREDO Yo Traigo Boogaloo LP
2022 repress. "Alfredito 'Sabor' Linares is a globetrotting pianist, composer, bandleader, and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William 'Quantic' Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and '80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary El Combo de Pepe album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as 'salsa' with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, El Pito, and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations . . . That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes, and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was 'open-ended, some musicians came some days, others on other days -- Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre.' Though the recordings were cut 'live in the studio' and many were basically composed on the spot, the intrinsic strength and maturity of the performances on Yo Traigo Boogaloo stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela..." --Pablo E Yglesias DJ Bongohead of Peace & Rhythm
CAT #: WWSLP 060LPVA Sharayet El Disco: Egyptian Disco & Boogie Cassette Tracks 1982-1992 LP
Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.
ZAMORA LABEL (FRANCE)
CAT #: ZAMO 2201CDDE CARVALHO, LUCIA Pwanga CD
Lúcia de Carvalho is an alchemist, a seeker of sense, a kindler of essence. Her voice transmits vibrations that heal and transform; her drum transmits the voice of the ancestors, inviting you to reconnect with your deepest self. Born in Luanda, she left the Angolan capital for Portugal with her mother and two of her four sisters, then when she was 12 years old she and her sisters were taken in by a French foster family in Meistratzheim. Her African roots resurfaced in an unexpected way when a Brazilian band happened to play in her village: it was with that band, Som Brasil, that during ten years she took her first musical steps, progressing from backing vocalist to lead singer, moving from dancing to drumming. In 2008, she decided to embark on a solo career and write her own songs. After releasing her first EP in 2011, she met Edouard Heilbronn, a young bassist from Alsace. They worked together on their compositions and played everywhere they could. After a long journey both musical and initiatory that took them to Brazil and Angola, Kuzola ("Love" in the Kimbundu language of Angola) was born: an album (2016) and a moving documentary that retraced Lúcia's quest for her roots and o?ered some answers to her questions about her own identity. If Kuzola was a quest for meaning, the quest this time is for the essence. It has enabled her, always in partnership with Edouard Heilbronn, to strike out into new territory on this her third album, recorded and mixed by Jean Lamoot (Mano Negra, Noir Désir, Alain Bashung, Dominique A, Souad Massi) at Studio Ferber in Paris. Of course, Africa and Brazil are still there on Pwanga, forming the heart of Lúcia as she lives and writes to the beat of the drum, finding words, melodies and rhythms on the same impulse; a raw diamond that her accomplice polishes, enriching the harmonies and sonic imagery and turning the songs on the album into travel films. Other outstanding participation in this luminous repertoire are the illustrious Brazilian singer Chico César, the powerful and warm voice of singer Anna Tréa, and two veterans of Angolan music: percussionist Galiano Neto and producer-guitarist Betinho Feijo, known for their long-standing work alongside the great Bonga Kwenda. While the virtuoso Zé Luis Nascimento (Mayra Andrade, Ayo, Cesaria Evora) knew how to enhance the essence of each title with his original and varied vocabulary between Brazilian, Eastern, and Western percussions.
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