Forced Exposure New Releases for the Week of 9/26/2022
New music is due from James Devane, Atom™, and Oren Ambarchi, while old music is due from Stephan Mathieu, Dominique Droin, and The Homosexuals.
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1960'S RECORDS (UK)
CAT #: RANDB 040LPBENNETT, BEN His Band '68 & The Rebel Rousers LP
2019 release. In the early to mid-sixties British youth made two big discoveries: groups and rhythm & blues. Groups weren't actually that new and weren't exotic (unless they were from Liverpool). Rhythm & Blues, or R&B, was exotic and it was new or seemed to be. In no time, the UK was attempting to emulate this exciting "new" music from over the water and the best of the emulators, was Cliff Bennett. His first band, the Rebel Rousers had Brian Epstein as manager, and scored three UK hits between 1964 and 1966: the Beatles' "Got To Get You Into My Life" and the Drifters' "One Way Love" and "I'll Take You Home". This album, consisting of numbers recorded in 1967 and '68 for BBC Radio shows, straddles the switch between the Rebel Rousers backing Cliff and their replacement by the Cliff Bennett Band. To seasoned Bennett fans, you won't miss the Rebel Rousers, their replacements do a superb job. Cliff Bennett may not have achieved the wider success he so richly deserved but he left a marvelous legacy to which this record is a most welcome addition.
AGOGO RECORDS (GERMANY)
CAT #: AR 157CDKRAJENSKI. B-3 Vol. 1 CD
An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
CAT #: AMEL 723LPROHRER, SAMUEL Hungry Ghosts LP
With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within the European electronic music realm. Over the past decade he has assembled a repertoire of music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has made a number of "electronically"-aided works that never seem to make "electronic-ism" the main selling point or raison d'être. His latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be achieved by conceptualizing musical passages as living, breathing entities rather than as signposts to some still distant reality. Maybe more so than any of Rohrer's solo records to date, Hungry Ghosts is the one that most unambiguously displays the artist as a kind of inspired sound "cultivator" or landscaper rather than just a straightforward "producer". The emphasis here seems to be biological growth processes rendered in musical form, and in fact some track titles namechecking the biodiversity of the external world ("Slow Fox", "Ctenophora") and neurochemistry ("Serotonin") lend some additional credence to this interpretation. As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or compressions of time. The percussive portions and other ambiences merge together in such a way that the latter seems like a kind of shifting, holographic camouflage for the former. Rohrer's already established ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences on the tracks "Human Regression" and "Bodylanguage"), reverence (the optimistic organ swells and steady sequencer guiding "Ceremonism"), and meditative focus (the slow-motion spectral waltz of "Treehouse"). Also notable here are very brief etudes, such as "Window Pain," whose dark, lush ebb and flow actually seem tailored to repeated or looped listening. The material is recorded solo and in a "live/no overdubs" mode, giving it the feel of a well-rehearsed ensemble. And here you come full circle to the idea of "electronic music" mentioned at the beginning here: instead of making you feel that you are in the presence of some fully-realized form brought back from "the future," Rohrer invites you instead to witness fascinating processes of transition and mutation.
CAT #: AX 108LPPARADOX (JEAN-PHI DARY/JEFF MILLS), THE Live At Montreux Jazz Festival 2LP
Recorded live at Montreux Jazz Festival, Montreux Switzerland on July 8, 2021. "With the release of The Paradox: Live At Montreux Jazz Festival, techno legend Jeff Mills and keyboard wizard Jean-Phi Dary embark on an exciting, ground-breaking musical trip that takes techno and electronic dance music to a new level . . . The Paradox's direction of travel into unexplored musical territory should come as no surprise since the original techno wizard has never stopped pioneering new ideas . . . Never content to outstay his welcome by staying in the same place for too long, in 2005 he revealed the breadth of his imagination with his conceptual classic Blue Potential, an album with the Montpellier Philharmonic Orchestra that saw techno happily co- existing alongside symphonic sounds. And now, Jacquline Caux's Man From Tomorrow -- the title of her film documentary of the techno maestro -- has cast his eyes over the musical horizon and borrowed a couple of ideas which he believes can transform techno and take it to the next level, 'I thought maybe it's not too late to bring or transfer some of the ideas from jazz over to electronic music, and look at the machines differently -- to play the machines and not just 'programme' them. I had the idea of trying to find the common link between free jazz and electronic music, so I reached out to jazz musicians to see if we could create something new that might be a benchmark that we could start from to create another step forward for electronic music.' Turning to keyboard player Jean-Phi Dary, with whom he had collaborated on the late Tony Allen's album Tomorrow Comes the Harvest, he remembered the musical ideas he had exchanged with the pianist while the sound engineer was doing his stuff during sound-checks on tour . . . Musically, they threw ideas out there to twist, turn and develop until they hit a groove and moved forward with that. The result was their first album together as Paradox called Counter Active (AX 096LP, 2021). It was a bold move, leaving the rhythmic certainties of techno to explore alternative, free flowing paths that allowed the breeze of change to blow through its highly compressed rhythms. Next came the challenge of presenting their ideas in live performance. They chose the demanding Montreux audience, and with the addition of Zaf Zapha on bass, the resulting album captures their spontaneous musical invention as it happens in the moment. It's a high risk, high reward strategy that was pulled off with conviction and aplomb . . . electronic sounds of techno are used to spontaneously interact with the piano, producing a deep musical conversation not pre-determined by tape loops, MIDI presets, the 96 rhythmic patterns stored in a TR-909 drum machine or the bass patterns of the Roland TB-303 electronic synthesizer-sequencer and all that technical geekery." --Stuart Nicholson Personnel: Jean-Phi Dary - keyboards, synthesizer; Jeff Mills - drum machine, synthesizer, percussions; Zaf Zapha - bass.
BETINO'S RECORDS (FRANCE)
CAT #: BR 006LPPLAYIN' 4 THE CITY The Music & The Rhythm 1997-2003 3LP
Limited repress. It's been now 25 years that Olivier Portal has been Playin' 4 the City. Very versatile in the beginning, he has nurtured his productions while doing club residencies in Paris and Chicago, making his music all the more dancing and developing a very original touch drawing near to the sounds of Chi-Town and New Jersey. By the end of the '90s, he collaborated with many DJs and producers such as DJ Deep, Julien Jabre and Franck Roger among others, thus gaining a real credibility and much respect from the underground Parisian house scene and the world at large. The Music & The Rhythm 1997-2003 brings back to the forefront some of the most anthemic tracks reflecting a very creative period in which Olivier Portal hooked up with great vocalists and players to produce his own style of deep house rich in soulful vocals, jazzy harmonies, funky bass lines and his trademark keyboard layers. This triple-LP brings back to light some of the most emblematic tracks reflecting a very creative period during which Olivier Portal teamed up with excellent vocalists and instrumentalists to produce. This compilation offers the best of the Straight Up era with some great classics like the smooth "Music and the Rhythm", the seminal "More Than Ever" and crucial tracks like "The Shore" and "Deep Inside", also entitles us to retrieve very in demand gems like "Atmosfear's Vibe", "Spirits" and "My City Life" that now fetch hefty prices in the 12" market. Features Electra Weston, The Deep, Loic Gayot, DJ Mel Hammond, Mandel Turner, and Kearl The Voice. Edition of 500.
BLACK TRUFFLE (AUSTRALIA)
CAT #: BT 091LPDREYBLATT & PAUL PANHUYSEN, ARNOLD Duo Geloso LP
Black Truffle continue its program of archival releases from Arnold Dreyblatt with a recently unearthed concert recording from Dreyblatt and Paul Panhuysen's Duo Geloso. While isolated examples of Dreyblatt's collaboration with the legendary Dutch multi-media artist appeared on the CD reissue of Propellers in Love and Black Truffle's wide-ranging archival Second Selection, this is the first release to document the variety and playfulness of the concerts that Duo Geloso performed throughout Europe in 1987-88. Both working across sonic and visual forms, fascinated by numerical relationship and the infinite complexity of string harmonics, Dreyblatt and Panhuysen had a natural affinity for each other's work, strengthened through Dreyblatt's many visits to Het Apollohuis, the important experimental art space Panhuysen helped to found in Eindhoven. However, as René van Peer suggests in the liner notes enclosed within this release, Dreyblatt and Panhuysen took very different approaches to these shared interests; the wonderful energy of these Duo Geloso performances results from the meeting of Dreyblatt's more austere, compositional process with Panhuysen's spontaneity. Recorded at a concert at Het Apollohuis in December 1987 (a series of beautiful photographs of which adorn the LP's packaging), each of the six pieces presented here is distinctive in terms of instrumentation and performance approach. Using electric guitar and bass tuned by Dreyblatt and played using E-Bow and Panhuysen's motorized plectrums, the opening "Razorburg" moves slowly through a long series of held notes with a madly insistent tremolo that crosses Dick Dale with a mechanized take on the layered guitars of Günter Schickert. The same pair of instruments returns on "Duo for Guitars", where the mechanized attacks dissolve into a harmonic wash, reminiscent of the machine guitar work of fellow Het Apollohuis alumni Remko Scha. On "Love Call", the guitars and bass are accompanied by Panhuysen's distant warbled vocals, familiar to Maciunas Ensemble listeners. On the remarkable "Synsonic Batterie", Panhuysen begins proceedings with a solo barrage of electronic percussion on the Synsonics Drum Machine (a simple drum synthesizer produced by the toy manufacturer Mattel), joined eventually by Dreyblatt performing his signature percussive natural harmonics on pedal steel guitar. When Panhuysen adds his bird whistle to the mix, the performance becomes the perfect exemplar of the Duo Geloso's unique mix of studious close listening and subtle absurdity.
CAT #: BT 094LPCURRAN, ALVIN Drumming Up Trouble LP
Black Truffle announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early '80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran's encyclopedic and omnivorous musical world: his experiments with sampled and synthesized percussion. As Curran's wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music's fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return "in some collective way to a non-existent start time in the history of human music". Whatever kind of music our proto-human ancestors played, he writes, "drums were front and center in the mix. Drums rule!" In a paradox typical of Curran's approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, you hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilizing an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald's Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon's Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realized in collaboration with Angelo Maria Farro: "End Zone" for orchestral bass drum and high oscillator, and "Rollings", where a snare roll is gradually stretched and filtered by digital means into "floating electronic gossamer". The incredible breadth of Curran's output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B's epic and bizarre "Field it More". It's perhaps best to let the maestro describe this unhinged and infectious offering in his own words: "It features an eight-bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above".. Presented with an inner sleeve with extensive liner notes from Alvin Curran.
CAT #: BT 095LPBERGISCH-BRANDENBURGISCHES QUARTETT Live '82 LP
Black Truffle announce a major archival discovery from the wildest outer fringes of the FMP universe, the Bergisch-Brandenburgisches Quartett's Live '82. The Bergisch-Brandenburgisches Quartett (BBQ) was formed in 1980 in Rostock, East Germany, when three of the most radical and riotous members of the West German free music scene -- reedist/accordionist Rüdiger Carl, percussionist Sven-Åke Johansson, and Hans Reichel on violin and his modified "strange guitars" -- first played as a quartet with East German saxophonist Ernst-Ludwig Petrowsky. A rare example of a working band with members from both sides of the wall, during its lifetime the BBQ left only one recorded document, a studio LP on Amiga, the pop and jazz sublabel of the GDR state-run Deutsche Schallplatten Berlin. Neither pure fire music nor orthodox free improvisation, the four members of the BBQ shared an all-embracing aesthetic where quotes and jokes sat comfortably alongside radical extended techniques and sonic experiments. Beautifully recorded at the 1982 Moers festival, the music presented here is a kaleidoscopic demonstration of what Johansson has called the BBQ's "free postmodernism". Beginning with a fractured landscape of clarinet flourishes from Petrowsky, Johansson's spacious drums accents, banjo-esque plucks from Reichel's handmade guitar and the groans and squawks of Carl on cuica, the music lurches between flowing melodicism and stunted locked grooves, settling after a few minutes into a lyrical clarinet and bass clarinet duet accompanied by shimmering guitar chords and some inexplicable percussive rotations. When Petrowksy starts to unfurl long, flowing flute lines accompanied by hand percussion, the music suddenly recalls Don Cherry's global fusions, but this turn to the folkish quickly takes on a more European character when Carl and Johansson pick up accordions for the first of several comical but oddly moving duets. The more frantic second half of the set takes in a raucous digression into honking R&B, an Ayler-meets-Schlager romp with almost rockish chordal accompaniment from Reichel and an outrageous free jazz blowout with Carl on accordion, not to mention episodes of Johansson's signature improvised Sprechgesang and antics with his expanded percussion set up, including items such as shoe stretchers and the Berlin yellow pages, which more than once cause the audience to burst into laughter. Arriving in a beautifully designed sleeve with copious archival photographs and flyers from Johansson's collection and extensive new liner notes from Francis Plagne, Live '82 is a major historical document that remains both musically challenging and immensely entertaining forty years on.
CAT #: BT 097LPHAINO/JIM O'ROURKE/OREN AMBARCHI, KEIJI "Caught in the dilemma of being made to choose" This makes the modesty which should never been closed off itself Continue to ask itself... 2LP
Full title: "Caught in the dilemma of being made to choose" This makes the modesty which should never been closed off itself Continue to ask itself: "Ready or not?"The renowned trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi return to Black Truffle with their 11th release. Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York's Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio's extensive body of work, this side-long epic finds Haino performing on metal percussion, O'Rourke on electronics, and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino's dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino's classic Tenshi No Ginjinka or his Nijiumu project. The remainder of the double-LP documents the trio live at Tokyo's SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O'Rourke on Hammond organ, and Ambarchi on his signature Leslie cabinet guitar tones. Haino's explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin's Hesitation. Accompanied by O'Rourke's organ and Ambarchi's guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far. After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. By the time you reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O'Rourke's strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed-out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino's guitar weaving and slashing across the rhythm section's irregular accents. Moving through an epic opening duet for O'Rourke on Hammond and Haino's wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits, and guitar squall. Gatefold sleeve on heavy stock; inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O'Rourke, design by Lasse Marhaug, and translation by Alan Cummings.
CAT #: BLOOD 005LPVA Bloodstains Across Jugoslavia: 22 Essential Punk Rock Blasts LP
Bloodstains Across Jugoslavia collects 22 essential punk rock blasts featuring Pekinska Patka, Pankrti, Paraf, Prljavo Kazaliste, Problemi, Termiti, Kuzle, Buldogi, Indust Bag, and Lublanska Psi*.
BORN BAD RECORDS (FRANCE)
CAT #: BORNBAD 157CDSTAR FEMININE BAND In Paris CD
To produce a record can be quite an adventure -- to do so with young girls from Northwest Benin is one tall order. Though not exactly a world music label, Born Bad Records took up the challenge and released Star Féminine Band's first album in late 2020 (BORNBAD 128CD/LP). Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. The pandemic didn't get the better of them, though; with their desire to go up on European stages still very much alive, the combo reappeared on the Transmusicales festival's line-up just one year later -- a highlight of their first tour, regardless of all the hurdles and hiccups. "The procedure wasn't as simple as the first time around." That's how self-appointed "band dad" (two of his daughters are part of the formation, which he initiated in 2016) and songwriter André Balaguemon euphemistically describes the obstacles he had to go through in order to go to France. Inviting over minor African girls is a long shot, not to mention in full Covid season. A first in this tour of all of the first times: leaving Benin, taking the plane, discovering Paris... "Everything intrigued them!", JB adds, never out of flowery anecdotes. National newspapers, specialized magazines, radios and TV stations, Arte and TV5, then the BBC had interest. They left convinced, just like the audience, enthralled by the direct, live formula. All the same when they had to record in the studio -- a whole new thing too, like a final challenge they rose to with youth's talent, thanks to the listening skills of Laurent Boisgisson from One Two Pass It studio. A feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. JB welcomed them in a record studio, and allowed for the formula to be sharpened into a sort of garage band with an Afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over video conference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Liner notes in English and French. CD version includes 12-page booklet.
CAT #: BORNBAD 157LPSTAR FEMININE BAND In Paris LP
LP version. Includes printed under sleeve; includes download code. To produce a record can be quite an adventure -- to do so with young girls from Northwest Benin is one tall order. Though not exactly a world music label, Born Bad Records took up the challenge and released Star Féminine Band's first album in late 2020 (BORNBAD 128CD/LP). Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. The pandemic didn't get the better of them, though; with their desire to go up on European stages still very much alive, the combo reappeared on the Transmusicales festival's line-up just one year later -- a highlight of their first tour, regardless of all the hurdles and hiccups. "The procedure wasn't as simple as the first time around." That's how self-appointed "band dad" (two of his daughters are part of the formation, which he initiated in 2016) and songwriter André Balaguemon euphemistically describes the obstacles he had to go through in order to go to France. Inviting over minor African girls is a long shot, not to mention in full Covid season. A first in this tour of all of the first times: leaving Benin, taking the plane, discovering Paris... "Everything intrigued them!", JB adds, never out of flowery anecdotes. National newspapers, specialized magazines, radios and TV stations, Arte and TV5, then the BBC had interest. They left convinced, just like the audience, enthralled by the direct, live formula. All the same when they had to record in the studio -- a whole new thing too, like a final challenge they rose to with youth's talent, thanks to the listening skills of Laurent Boisgisson from One Two Pass It studio. A feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. JB welcomed them in a record studio, and allowed for the formula to be sharpened into a sort of garage band with an Afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over video conference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Liner notes in English and French.
BPITCH CONTROL (GERMANY)
CAT #: BPX 020CDANSCHUTZ, ROSA Goldener Strom CD
"I follow the golden stream..." sings Rosa Anschütz in the title track of her new album, in a cold, clear, determined voice. Underneath, golden interference buzzes and splashes at first, while cold light lies over the "thick water." Followed by powerful beats setting in as the trumpet fanfares of the chorus herald victory over the elements. Golden Stream is second album of the 24-year-old artist, who lives in Vienna and Berlin -- an amazing work. It can be danced to, but one can also listen to it as a conceptual album; it is as full of beats as it is full of thoughts. Rosa Anschütz plays piano, flute, and trumpet, she worked a lot with modular synthesizers in the beginning of her career. Her musical awakening experience was the Atonal Festival in Berlin, later she also danced a lot at Berghain, and Berghain DJ Max Kobosil remixed her song "Rigid". Rosa Anschütz reinforces her enormously versatile vocals -- ranging from a pleading breath to a cold new wave speaking voice -- with a relentlessly marching four-to-the-floor techno; but underneath it all, lay polyrhythmic deviations again and again. Clattering and trembling, deep basses digging into the ground, while shimmering veils of sound blow from above. Rosa Anschütz follows the traditions of dark wave and post-punk, but carves deep notches of sound sculpture and romantic smoothness. Goldener Strom is a great pop album, full of melodies, aphorisms and beats that immediately catch your ear. At the same time, it is a manifesto of artistic sovereignty -- precious and wise in times of streamlined art.
COLD SPRING RECORDS (UK)
CAT #: CSR 316CDVA Visions Of Darkness (In Iranian Contemporary Music): Volume II 2CD
When the anthology Visions Of Darkness (In Iranian Contemporary Music) was released in 2017 (co-published in collaboration between Cold Spring and Unexplained Sounds Group), it was immediately clear that the Iranian music scene was not just promising, but already a rich chest of treasures. Years later, there is further confirmation of the creative excellence and variety of musical languages that flourished in the Persian land. In spite of the title, this second volume of the legendary anthology also gives you a broad picture of the musical experience of the Iranian underground that is not limited to the dark ambient, but explores sonic territories that reach concrete music, electro-acoustic experimentation and sonic abstractionism. Persia, the cradle of a millenary culture, is teeming with young talents who continue their musical research with enthusiasm, pride, and self-denial in the territories of drone music, as in electronic experimentalism and in the contamination of genres. To some familiar names already present in volume I (Xerxes The Dark, IDFT, Reza Solatipour, etc.), new discoveries are added that contribute to making the journey through the new Persian music exciting to the point that we can no longer speak of an emerging scene, but of a consolidated musical reality akin to others in the West. Curated and mastered by Raffaele Pezzella. Also features Babak Sepanta, Alireza Amirhajebi, Shahin Souri, Dodenskald, S.S.M.P., Amin Shirazi, PooYar, Dariush Salehpour & Zhoobin Askarieh, Vesal Javaheri, Saturn Cube, Melkor, Sam Eyvaz, Soheil Shirangi, Farzan Salsabili, and Arshan Najafi. Presented in a double digipak with graphic design by Abby Helasdottir.
CAT #: CORTIZONA 015LPWATERS, PATTY You Loved Me LP
First time release on vinyl of the breathtaking songs Patty Waters recorded with engineer Steve Atkins in 1970 at the Coast Recordings studio, together with the unreleased single "My One And Only Love" and a recorded live session at Lone Mountain College in 1974. The album You Loved Me is the missing link between her two groundbreaking pioneering and highly acclaimed ESP-Disk' records from the end of the '60s and her post '90s releases. The missing link between the radical ingenue of the 1960s and her late '90s songs wherein she expressed the resolution of all of her life's moments through mature readings of traditional songs and jazz standards. This collection aims to provide that missing link and to finally complete the picture of her storied recording career. In what would have been her third LP, the You Loved Me album serves as the inverse of Patty's debut. While her 1965 debut Sings (ESPDISK 1025CD) concerned itself with themes of heartbreak, loneliness, and yearning, there's an abundance of love, joy, and togetherness on You Loved Me. LP includes insert.
DE LA CATESSEN RECORDS (AUSTRALIA)
CAT #: DLC 007LPMUSIC OF TRANSPARENT MEANS Selected Live Recordings LP
Selected Live Recordings is the third release De La Catessen Records has divined from the archives of New-York-via-Adelaide minimalist composer Alex Carpenter, and the second in this series for his shape-shifting collective, Music Of Transparent Means. It follows the two side-long fantasias of 2021's self-titled album; this time, we pan out slightly, to grant the listener a varied and yet more complex understanding of the material Carpenter was writing and performing when this music was happening, during the noughties. On this album, you can hear the results of some intensive explorations of the possibilities of minimalism both at its most delicate, and at its most feverish. The heavenly stasis of "Disappearance #1", for massed wine glasses and bowed guitars, feels like being jettisoned in a water tower filled with ether; the wooziness of "Burial Music" captures something of the spirit of Fripp & Eno's (No Pussyfooting), but as though the tape is slowly disintegrating; the music is blurred at the edges, warped and sidereal. Perhaps the centerpiece of Selected Live Recordings, though, is the simple, yet ravishing, "Rose Street Womb". With its performers given a simple set of instructions -- to continually repeat and elongate a series of phrases, while listening and responding to the overall sound of the ensemble -- its pastoral psychedelia recalls the gentle slippages of Arthur Russell's landmark composition, Tower Of Meaning. Elsewhere, "Mountain Piece #2" is a thunderstorm for massed drums, while "Second Presencing" uses delays as a structuring device to paint an "audio canvas" from a clutch of damaged tones. Throughout, you can hear Carpenter's knowledge and deep study of the history of minimalist composition -- he has written extensively on the work of La Monte Young, and there is certainly some aesthetic and ideological crossover with the likes of Phill Niblock, Terry Riley, and Arnold Dreyblatt. But it is also very much his own thing, the result of an intensive period of study and exploration of the possibilities, not just of minimalist composition, but also of Just Intonation. With the material long whispered about in reverent tones, and circulating on CD-R only amongst a small group of like-minded souls, De La Catessen's ongoing series of releases of Carpenter's music is a major development, bringing to light one of minimalism's hidden histories.
CAT #: DLC 009CDLEITMOTIV LIMBO Spiritual Disturbance CD
De la Catessen Records presents Spiritual Disturbance from Elijah Värttö's project Leitmotiv Limbo. Currently based in Port Adelaide, Australia, Leitmotiv Limbo has developed, slowly but surely, over the past few decades, through international travel and relocation, including five years in Estonia (2008-2012), where Värttö set up the Servataguse Muusika concert series. Spiritual Disturbance was recorded in 2020 and released privately as a small run of recycled cassettes -- this CD version is the first widely available Leitmotiv Limbo release since their 2018 split cassette with RNPno2 on Finnish label Hyster Tapes. Central to the Leitmotiv Limbo ethos are Värttö's self-made instruments, built from discarded, repurposed, and found objects, such as loose springs and other metallic implements. Affixed to wood sourced from a disused and dismantled piano frame, their deep resonance, both percussive and timbral, positions Värttö's approach within a trajectory of instrument builders/creators -- you can hear echoes of the music of artists like Z'ev, Hal Rammel, and Rod Cooper in the shattered textures and industrial drones of tracks like "Submersive", for example. There's also a tactility to the performances here, a haptic resonance, and a strange, viscous sensuality to the material. Värttö recorded Spiritual Disturbance in a church hall in Adelaide, on a four-track, using room mics and direct line input, and it's made up largely of one-take performances on Värttö's self-made instruments, with minimal intervention, at times, from analog filters and a drum synth. The combination of the evacuated tonalities of the instruments, plus the cavernous reverb of the recording space, gives Spiritual Disturbance a distinctly ritualistic sensibility; poetic and primitive, but eloquent in its exploration. It also brings to mind mysterious projects like Organum, Morphogenesis, Metgumbnerbone, perhaps even an acoustic Voice Crack, where conceptual rigor meets unpredictability via real-time improvisation. Spectral and haunted, Leitmotiv Limbo's Spiritual Disturbance is a compelling collection of oneiric expression, and an eloquent articulation of a unique, invented universe. Includes four-page booklet; edition of 300.
CAT #: DC 781CSBITCHIN BAJAS Bajascillators Cassette
Cassette version. "And suddenly! With a tactile clunk, Bajascillators bubbles to the surface. 'Amorpha', a side-long shower of synthetic bells and bass, as patterns interlock and repeat and the beat within the barlines shifts constantly, forms a new, latest miniature of infinity. You flip it, and 'Geomancy' resets you, starting anew, with heavy drift and drone leading into a space of shorter broken lines and middle-eastern tonalities, that roll back into ether again -- new spaces, but mysteriously consonant with the vibe. And that's how it goes -- side by side, Bajascillators rolls four unique numbers that act on their own AND as extensions of each other, phases in perfect flow. Each time, as the needle cradles into the playout groove, you the listener are becalmed, in stasis, forever changed. Until you flip the side -- and forever changes again... The Bajas is back. Bajascillators arrives almost five years since their last official full-length, 2017's Bajas Fresh. In the eight years prior, from 2010 to Fresh, Bitchin Bajas issued seven albums, plus cassettes, EPs, singles . . . wave after wave of analogue synth tones and zones extending into a stratospheric arc. Each release its own headspace, shape and timbre, each one sliding naturally into their implacable, eternal gene pool. Following the flow, always, the Bajas went ever-deeper-and-higher on these records, whether making soundtracks or collaborating with Bonnie 'Prince' Billy, using only fortune cookie fortunes as a libretto. Plus engagement, with a steady stream of shows and tours around the world; live re-airings and expansions of the space captured in their records as they continued to grow and flow -- all the way through, really, to the present moment. Plus, there have been releases since 2017 -- a split 12", a 7" single, digital track release and two 'Cuts' cassettes, plus the all-covers cassette release Switched On Ra. But the overall number of releases, plus the five years between long players, implies a potential distance between phases, a new line in the sand. The sound of Bajascillators bear this out. How couldn't it? Compared to 2017, this is a different world -- and, as has everlutionary been true, in case of new world, new Bajas! Bajascillators, then, necessarily reflects the experiences -- the changed and the changing -- in the life and times of Bitchin Bajas these last five years. Like all the new gear, for instance! Everything from keys to mic pres, and many other machines to make their home setup an increasingly real thing. These bits and pieces came in and needed time to grow into the setup organically. That was time. Then add in the changing circumstances as they jammed from week to week, hearing things differently all the time. Different energies manifested from the variety of new possibilities to explore -- all of that led to a massive buildup of material. That was time. Then reviewing everything they had, to find paths into the new record. More time! And yet, after all that, the unprecedented lightness of the space in Bajascillators belies the long gestation period, drawing and juxtaposing from all the moments that needed to be, and mixing them as one with immaculate balance. Mastered directly from half-inch analog tape, Bajascillators floats transparently from the speakers, its expansive grooves gathering resonance and building momentum over the four sides, from genesis to re-conclusion, cascading ecstatically. The elastic magic of time at its brightest! As the world keeps turning, so too do Bitchin Bajas, in the same unknowable way. You can't explain it -- just keep turning."
CAT #: DC 781LPBITCHIN BAJAS Bajascillators 2LP
"And suddenly! With a tactile clunk, Bajascillators bubbles to the surface. 'Amorpha', a side-long shower of synthetic bells and bass, as patterns interlock and repeat and the beat within the barlines shifts constantly, forms a new, latest miniature of infinity. You flip it, and 'Geomancy' resets you, starting anew, with heavy drift and drone leading into a space of shorter broken lines and middle-eastern tonalities, that roll back into ether again -- new spaces, but mysteriously consonant with the vibe. And that's how it goes -- side by side, Bajascillators rolls four unique numbers that act on their own AND as extensions of each other, phases in perfect flow. Each time, as the needle cradles into the playout groove, you the listener are becalmed, in stasis, forever changed. Until you flip the side -- and forever changes again... The Bajas is back. Bajascillators arrives almost five years since their last official full-length, 2017's Bajas Fresh. In the eight years prior, from 2010 to Fresh, Bitchin Bajas issued seven albums, plus cassettes, EPs, singles . . . wave after wave of analogue synth tones and zones extending into a stratospheric arc. Each release its own headspace, shape and timbre, each one sliding naturally into their implacable, eternal gene pool. Following the flow, always, the Bajas went ever-deeper-and-higher on these records, whether making soundtracks or collaborating with Bonnie 'Prince' Billy, using only fortune cookie fortunes as a libretto. Plus engagement, with a steady stream of shows and tours around the world; live re-airings and expansions of the space captured in their records as they continued to grow and flow -- all the way through, really, to the present moment. Plus, there have been releases since 2017 -- a split 12", a 7" single, digital track release and two 'Cuts' cassettes, plus the all-covers cassette release Switched On Ra. But the overall number of releases, plus the five years between long players, implies a potential distance between phases, a new line in the sand. The sound of Bajascillators bear this out. How couldn't it? Compared to 2017, this is a different world -- and, as has everlutionary been true, in case of new world, new Bajas! Bajascillators, then, necessarily reflects the experiences -- the changed and the changing -- in the life and times of Bitchin Bajas these last five years. Like all the new gear, for instance! Everything from keys to mic pres, and many other machines to make their home setup an increasingly real thing. These bits and pieces came in and needed time to grow into the setup organically. That was time. Then add in the changing circumstances as they jammed from week to week, hearing things differently all the time. Different energies manifested from the variety of new possibilities to explore -- all of that led to a massive buildup of material. That was time. Then reviewing everything they had, to find paths into the new record. More time! And yet, after all that, the unprecedented lightness of the space in Bajascillators belies the long gestation period, drawing and juxtaposing from all the moments that needed to be, and mixing them as one with immaculate balance. Mastered directly from half-inch analog tape, Bajascillators floats transparently from the speakers, its expansive grooves gathering resonance and building momentum over the four sides, from genesis to re-conclusion, cascading ecstatically. The elastic magic of time at its brightest! As the world keeps turning, so too do Bitchin Bajas, in the same unknowable way. You can't explain it -- just keep turning."
CAT #: DC 853CDAMBARCHI, OREN Shebang CD
"Extended guitar hero Oren Ambarchi returns with Shebang, the latest in the series of intricately detailed long-form rhythmic workouts that includes Quixotism (2014) and Hubris (2016). Like those records, Shebang features an international all-star cast of musical luminaries, their contributions recorded individually in locations from Sweden to Japan yet threaded together so convincingly (by Ambarchi in collaboration with Konrad Sprenger) that it's hard to believe they weren't breathing the same studio air. Expanding on the techniques used on Simian Angel (2019), we can never be entirely sure who is responsible for what we hear, as Ambarchi's guitar is used to trigger everything from bass lines to driving piano riffs. Picking up from the staccato guitar patterns that ran through Hubris, Shebang's single 35-minute track begins with a precisely interwoven lattice of chiming guitar figures, expanding Hubris' monolithic pulse into a joyous, hyper-rhythmic melodicism that calls up points of reference as disparate as Albert Marcoeur, early Pat Metheny Group, and Henry Kaiser's It's A Wonderful Life. Building from isolated single notes into densely layered poly-rhythms, the muted guitar tones are joined by subtle touches of shimmering Leslie cabinet tones and guitar synth. Simmering down and funneling into a single note, the guitar stew is soon thickened by Joe Talia's propulsive ride cymbal, which blossoms into a beautifully flowing yet rigorously snapped-to fusion funk, whose ever-shifting details skitter across the kit -- think '70s heavyweights like Jack DeJohnette or Jon Christensen. An unexpected entry of guttural bass clarinet licks from Sam Dunscombe begins the series of instrumental features that pepper the remainder of the piece. Soon we hear from the legendary British pedal steel player B.J. Cole (hopefully known to some listeners from his outer-limits singer-songwriter masterpiece The New Hovering Dog or, failing that, 'Tiny Dancer'), whose languorous yet uneasy lines float in and out of a shifting rhythmic foundation supported by a single note bass groove, cut through with aleatoric synth articulations. Though single-mindedly occupying its rhythmic space throughout, Shebang's dense ensemble sound is carefully composed while drawing on the free flow of improvisation, with individual voices momentarily coming to the fore and subtle changes in harmony and texture. Perhaps the most surprising of these shifts occurs around half-way through when the smoke of a buzzing synth crescendo from Jim O'Rourke clears to reveal something like a piano trio, with Ambarchi's guitar-triggered piano patterns providing restless accompaniment to flowing melodic lines from Chris Abrahams of The Necks, while Johan Berthling's double bass and Talia's drums fill out the bottom end. Before long, things take another left turn as Julia Reidy's rapidly picked 12-string guitar lines take center stage, with O'Rourke's monumental synth clouds hovering in the distance. The ensemble surges through a slow series of harmonic changes before the whole shebang dissolves into a delirious synthetic mirage. Bridging minimalism, contemporary electronics, and classic ECM stylings, and bringing together a cast of preternaturally talented contributors, Shebang is unmistakably the work of Oren Ambarchi: obsessively detailed, relentlessly rhythmic, unabashedly celebratory."
CAT #: DC 853CSAMBARCHI, OREN Shebang Cassette
Cassette version. "Extended guitar hero Oren Ambarchi returns with Shebang, the latest in the series of intricately detailed long-form rhythmic workouts that includes Quixotism (2014) and Hubris (2016). Like those records, Shebang features an international all-star cast of musical luminaries, their contributions recorded individually in locations from Sweden to Japan yet threaded together so convincingly (by Ambarchi in collaboration with Konrad Sprenger) that it's hard to believe they weren't breathing the same studio air. Expanding on the techniques used on Simian Angel (2019), we can never be entirely sure who is responsible for what we hear, as Ambarchi's guitar is used to trigger everything from bass lines to driving piano riffs. Picking up from the staccato guitar patterns that ran through Hubris, Shebang's single 35-minute track begins with a precisely interwoven lattice of chiming guitar figures, expanding Hubris' monolithic pulse into a joyous, hyper-rhythmic melodicism that calls up points of reference as disparate as Albert Marcoeur, early Pat Metheny Group, and Henry Kaiser's It's A Wonderful Life. Building from isolated single notes into densely layered poly-rhythms, the muted guitar tones are joined by subtle touches of shimmering Leslie cabinet tones and guitar synth. Simmering down and funneling into a single note, the guitar stew is soon thickened by Joe Talia's propulsive ride cymbal, which blossoms into a beautifully flowing yet rigorously snapped-to fusion funk, whose ever-shifting details skitter across the kit -- think '70s heavyweights like Jack DeJohnette or Jon Christensen. An unexpected entry of guttural bass clarinet licks from Sam Dunscombe begins the series of instrumental features that pepper the remainder of the piece. Soon we hear from the legendary British pedal steel player B.J. Cole (hopefully known to some listeners from his outer-limits singer-songwriter masterpiece The New Hovering Dog or, failing that, 'Tiny Dancer'), whose languorous yet uneasy lines float in and out of a shifting rhythmic foundation supported by a single note bass groove, cut through with aleatoric synth articulations. Though single-mindedly occupying its rhythmic space throughout, Shebang's dense ensemble sound is carefully composed while drawing on the free flow of improvisation, with individual voices momentarily coming to the fore and subtle changes in harmony and texture. Perhaps the most surprising of these shifts occurs around half-way through when the smoke of a buzzing synth crescendo from Jim O'Rourke clears to reveal something like a piano trio, with Ambarchi's guitar-triggered piano patterns providing restless accompaniment to flowing melodic lines from Chris Abrahams of The Necks, while Johan Berthling's double bass and Talia's drums fill out the bottom end. Before long, things take another left turn as Julia Reidy's rapidly picked 12-string guitar lines take center stage, with O'Rourke's monumental synth clouds hovering in the distance. The ensemble surges through a slow series of harmonic changes before the whole shebang dissolves into a delirious synthetic mirage. Bridging minimalism, contemporary electronics, and classic ECM stylings, and bringing together a cast of preternaturally talented contributors, Shebang is unmistakably the work of Oren Ambarchi: obsessively detailed, relentlessly rhythmic, unabashedly celebratory."
CAT #: ECHO 090-2LPVA Echocord - 20 Years (Black Vinyl) 3LP
Echocord marks a momentous twenty years with an exclusive release for dub-techno lovers and collectors. The limited re-press comes in black vinyl. This vinyl series celebrates artists who continue to inspire the Echocord journey, from 2001 to 2021 and beyond. Over the past two decades, the Kenneth Christiansen helmed Echocord imprint has been at the forefront of the dub-techno scene, discovering and developing sophisticated artists globally. The twelve-track release is an exploration, from energetic dub techno, with cuts like Luke & Jeff Hess's "M1 Dub", grad_u's "Pacific Lair", and Idealist's "Ride" to more esoteric passages with Forest Drive West's "Signals", Mikkel Metal's "Lakam Dub", and Brendon Moeller's "Slow Return". Heavy dub vibrations resound in Babe Roots featuring Another Channel's "Gunman" and Deadbeat's sub-driven "The Old Doom and Gloom" while Fluxion turns it to a jazzy, dub house wave with "Slide". Also features Mathimidori, Quantec, and Resoe. "To me music is life, thank you for your support keeping the sound of echocord resonating" --Kenneth Christiansen
CAT #: MTE 073LPBLUE, DAVID Stories LP
"David Blue was the peer of any singer in this country, & he knew it, & he coveted their audiences & their power, he claimed them as his rightful due. & when he could not have them, his disappointment became so dazzling, his greed assumed such purity, his appetite such honesty, & he stretched his arms so wide, that we were all able to recognize ourselves, & we fell in love with him." (Leonard Cohen). David Blue is the 'Blue' in Bob Dylan's "Baby Blue", the voluble chain-smoking pinball loner in Renaldo & Clara, a companion of Joni Mitchell's during the time she made Blue, the "blue's not right" art collector in Wim Wender's The American Friend. The second artist signed to David Geffen's fledgling Asylum records (after Judee Sill), Blue's 1971 Asylum debut Stories sold a woeful 2000 copies. Perhaps a factor in the album's spectacular failure to achieve traction is the almost harrowing emotional vulnerability of Blue's songs & performances. About Stories Blue himself said "if you listen to the record & say, 'god, what a downer,' then i've succeeded in doing exactly what i wanted to do." Recorded with Blue's foil, guitarist Bob Rafkin, & an A-list ensemble of LA session musicians that includes among others Ry Cooder, Rita Coolidge, Chris Ethridge, & Russ Kunkel, engineered by Henry Lewy (Blue, Gilded Palace of Sin) with string arrangements by Jack Nitzsche, Stories is the one true masterpiece of David Blue's short life (Blue died age 42 from a heart-attack while jogging in Washington Square Park).Aficionados of the "stoners&loners" genre have slept on Stories. In the estimation of those long involved in the activities of eremite records, Stories finest moments (& there are many) foreshadow dark classics from later in the decade such as Gene Clark's No Other, Neil Young's 'Ditch Trilogy' & Dennis Wilson's Pacific Ocean Blue, spirit albums in which the artists' torments are transfigured into high art through bummer song. As an expression of appreciation & love to David Blue, eremite's edition of Stories surpasses all previously available versions in both audio reproduction & presentation. Kevin Gray at Cohearent Audio gently remastered the music from the original tapes & cut the lacquers. Pressed on premium audiophile 120 gram vinyl at RTI, Stories is presented in a retro flipback jacket with a 12x12 hand screenprinted (in peacock blue ink) insert by Alan Sherry / Siwa that reproduces in-full Leonard Cohen's 1982 eulogy for David Blue. Stories is the only release on eremite records' subsidiary label Sister Rose (titled after the second song on side 1 of Stories). Edition 999 copies. In the words of Gil Scott Heron, "all the dreams you show up in are not your own."
CAT #: ESK 513331SATIN JACKETS Hidden Treasures EP 12"
Having established himself as one of the biggest names on the nu-disco scene with his debut album ESK 507583/507585, 2016), Tim Bernhardt AKA Satin Jackets, cemented that success with his follow-up, Solar Nights (ESK 510719/510720), that saw the German producer broaden his sound, collaborating with songwriters and vocalists from around the world to stunning effect. Returning to the studio Bernhardt has been inspired to return to his instrumental roots, the lessons learnt from the past few years applied to the dreamy, laidback electronic music that he first made his name with and which can now be heard on the four track Hidden Treasures EP. "I felt the need to again turn my hand to producing instrumental tracks. That resulted in the Golden Cage EP, which made me realize just how important it was to focus on crafting music that was completely my own and can shine without the need of vocals." That realization led to the Hidden Treasures EP, four tracks that are 100% undiluted and unfiltered Satin Jackets, imbued from start to finish with the chilled vibes and charm of his debut, the technical skill and musicality of its follow up, and crucially the confidence of a producer who is at the top of his game. "Instrumental tracks have this magic, this power that unfolds in their own unique way. Unbound by any kind of song structure or decisive meaning I can design them in my own way and focus more on the mood and the feeling. The result is four tracks that tell a story about a particular chapter of my life. At the same time they're open enough for the listener to insert their own story into it."
CAT #: ESK 513427SATIN JACKETS Reunion CD
Reunion is the third album from nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings, Reunion is a stunning follow-up to the German producer's first two critically acclaimed albums and features 14 stunning tracks of sun-kissed disco, Balearic house, leftfield pop, and guest vocals from the likes of Australian star Panama, Belgian singer Ivy Falls, US based vocalist Metaxas, and up-and-coming British singer Tailor. With Bernhardt's second album, Solar Nights (ESK 510719/510720, 2019), one of the most successful nu-disco records of recent times the following years should have made the Satin Jackets name a regular fixture on club and festival bills worldwide. The pandemic saw the producer's horizons limited to the four walls of his new Munich studio. Still with the world out of reach Bernhardt turned to the internet to keep in touch with his fans and sow the seeds for what would become Reunion. "Throughout 2020 we recorded a number of what we called Lockdown Streams," explains Bernhardt. With almost no promotion those sessions ended up being streamed over a million-and-a-half times, but for Bernhardt the real reward was the response from fans. Thankfully just as Bernhardt was able to connect with his fans online, he was able to reach out to his friends and accomplices around the world reuniting with many of the singers and songwriters that had graced both Panorama Pacifico (ESK 507583/507585) and Solar Nights and song by song, as files sped back and forth across the globe a new album, Reunion, took shape. Where the first two Satin Jackets albums saw Bernhardt work to first develop his own sound and then elevate his productions to another level, Reunion reveals an artist now completely at ease in the studio, a musician and producer now confident in both his abilities and artistic vision. From start-to-finish Reunion is an album that adds new depths and dimensions to the Satin Jackets sound whilst sounding utterly unforced. From the warm and welcoming opening tones of "For What We Have" right through to the last bittersweet chords of "Don't Worry", wistful pop songs like "Spell" and "Move On" grounded in the messiness of human emotions to tracks like the aptly named "Little Airplanes" that seem to float effortlessly about the clouds, Reunion is an album that you'll want to immerse yourself in and return to, time and time again.
CAT #: ESK 513428SATIN JACKETS Reunion 2LP
Double LP version. Reunion is the third album from nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings, Reunion is a stunning follow-up to the German producer's first two critically acclaimed albums and features 14 stunning tracks of sun-kissed disco, Balearic house, leftfield pop, and guest vocals from the likes of Australian star Panama, Belgian singer Ivy Falls, US based vocalist Metaxas, and up-and-coming British singer Tailor. With Bernhardt's second album, Solar Nights (ESK 510719/510720, 2019), one of the most successful nu-disco records of recent times the following years should have made the Satin Jackets name a regular fixture on club and festival bills worldwide. The pandemic saw the producer's horizons limited to the four walls of his new Munich studio. Still with the world out of reach Bernhardt turned to the internet to keep in touch with his fans and sow the seeds for what would become Reunion. "Throughout 2020 we recorded a number of what we called Lockdown Streams," explains Bernhardt. With almost no promotion those sessions ended up being streamed over a million-and-a-half times, but for Bernhardt the real reward was the response from fans. Thankfully just as Bernhardt was able to connect with his fans online, he was able to reach out to his friends and accomplices around the world reuniting with many of the singers and songwriters that had graced both Panorama Pacifico (ESK 507583/507585) and Solar Nights and song by song, as files sped back and forth across the globe a new album, Reunion, took shape. Where the first two Satin Jackets albums saw Bernhardt work to first develop his own sound and then elevate his productions to another level, Reunion reveals an artist now completely at ease in the studio, a musician and producer now confident in both his abilities and artistic vision. From start-to-finish Reunion is an album that adds new depths and dimensions to the Satin Jackets sound whilst sounding utterly unforced. From the warm and welcoming opening tones of "For What We Have" right through to the last bittersweet chords of "Don't Worry", wistful pop songs like "Spell" and "Move On" grounded in the messiness of human emotions to tracks like the aptly named "Little Airplanes" that seem to float effortlessly about the clouds, Reunion is an album that you'll want to immerse yourself in and return to, time and time again.
FEEDING TUBE RECORDS
CAT #: FTR 703CDFAVORY, JEAN-BAPTISTE Ciels CD
"It is our honor to present the seventh album by French composer Jean-Baptiste Favory, whose work we first encountered while reissuing a record with the Mexican art collective, Los Lichis. J-B made an annual trip to Mexico to participate in Los Lichis' musical and visual anarchy -- Dog (FTR 229LP, 2016), and Savage Lichis Religion: El Ultimo Grito with Pakito Bolino (FTR 354LP, 2018) -- and was considered a full member of this estimable outfit. We soon discovered he was also the France's long-running experimental radio show Epsilonia, as well as an exciting solo musician. This led to us releasing his wonderful 2017 LP, Things Under: Compositions for Guitars and Electronics (FTR 333LP). Favory's main interest remains in electronics composition, so the next project he offered us was Ciels -- six gorgeous synthesizer pieces, written and played on a variety of instruments. The title track was created on a 1981 PPG Wave 2, which is one of the earliest digital synths, and has a 'metallic and shiny' sound, that was used to make a lot of '80s synth-wave music. Under Favory's touch, it assumes a spacy, pulsating attitude more akin to mid-period Heldon than A-ha. 'The Naked Now' was done on a UNISONO synth with Max-MSP software. Its many layers of action run at a variety of speeds and display multifarious textures. There is a kind of slickness underlying the basic sounds, but they're all handled in weird ways, with the output recorded via microphone off a guitar amp, so the smooth individual threads are woven into rough aural burlap. There's a slinky Eastern feel to the music at times, but the small sections into which the piece is divided are highly variant. 'Time on Time' was written and played on Eliane Radigue's 1971 ARP 2500 during a two-week residency at Paris's Groupe Recherches Musicale. This piece revolves around chiming tone sequences and the moist sorts of edits one associates with word-based assemblages and gently slurped pulses. It moves through the air like a spice worm looking for an angry fix. 'Love Structure' uses a 1972 AKS synth from EMS, which was popular with rock dudes for its rough, straight sounds. Typically Favory bends the poor machine to his will, conjuring up a weightless episode of heavy kosmiche space rotation. There are a couple other tracks, which I will leave you to discover yourselves. J-B even pulls his guitar out for a bit, but you'll have to figure out where that happens. I don't wanna spoil the surprise." --Byron Coley, 2022
FEINES TIER (GERMANY)
CAT #: FEINES 046EPMEGAPHONIM Namal Ashdod EP 12"
Tel Aviv super group Megaphonim are bringing their off-kilter energy to Feines Tier in form of their new Namal Ashdod EP with four original tracks and hell of a Simple Symmetry remix. Even though they're all quite unique on their own, what unites the tracks is the combination of raw beats and vocals with an oddly catchy pop approach to the writing of the music. Be it in the aptly titled "After of Disaster" with its let-loose energy, the slow-rolling "Lo Titfos Oti", which could have been picked from an Andrew Weatherall (RIP) DJ-set, or the title track with its break-beats and its unforeseeable left-turns, there's always this playful and off-the-wall energy keeping the ball going and bouncing. And let's not forget about the remix! Endlessly rising duo Simple Symmetry do what they have become known for very well here: Deliver an insanely groovy and relentless weapon of a track, guaranteed to blow the roof of every club, festival floor or after, however disastrous it might be.
GET ON DOWN
CAT #: GET 912EP
FILE UNDER: HIPHOPCYPRESS HILL Psychobetabuckdown/Something For The Blunted/Latin Lingo 7"
"To commemorate the 30 year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hype man, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change hip hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine."
CAT #: GET 913EP
FILE UNDER: HIPHOPCYPRESS HILL The Funky Cypress Hill Shit/Tres Equis/Born To Get Busy 7"
"To commemorate the 30 year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hype man, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change hip hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine."
GLOSSY MISTAKES (SPAIN)
CAT #: GLOSSYFL 003EP
FILE UNDER: SOUNDTRACKSEXO Y FANTASIA Sexo y Fantasia 12"
In the midst of the summer of 1988, a duo of artists from Belgium and Italy got together in the surroundings of the infamous X-rated film Rocket 23 Studios Molenbeek to build a seductive sound. Originally involved in the cinematography and art direction of adult movies, the two mavericks decided to compose the soundtrack of what was going to become a cult movie of the late '80s erotique era: Sexo y Fantasia. The Belgian and Italian directors discovered back then the new beat, proto house and Italo sound at the underground Ghent disco club "La Pircardía" and at "Club Spaziale" in Rimini, after their wet shooting days. Inspired by this bubbling European hype, they added features and distorted vocals from the X-rated movies they were filming at that time to the melody and beat of the soundtrack. The result is a powerful, unexpected and deep collection of tunes that sound fresh and vibrant today. These unique tracks get to see the light of the day again thanks to the finding of the filthy master tapes together with a provocative fanzine somewhere in Brussels. Its images served as raw material for the adult artwork. Sexo y Fantasia gets now revisited by current producers on the left side of the beat: t-woc uses his masterful expertise to build an atmosphere of Balearic layouts, while Alexander Arpeggio works his way around a hypnotic and punchy remix of the original theme. Recommended listening experience while eating.
HONEST JON'S RECORDS (UK)
CAT #: HJP 045EPSTEEL AN' SKIN Afro Punk Reggae Dub 12"
2022 repress. From the Honest Jon's 'hood -- Ladbroke Grove, late 1970s -- stomping disco, dubwise reggae and regal steel-band. Three-track EP, released in conjunction with EM Records from Japan.
CAT #: HJP 076EPINSANLAR/RICARDO VILLALOBOS Kime Ne 2x12"
2022 repress. Stunning new music from Istanbul! Wild baglama improvisation and mystical male-unison singing, atop the propulsive mass of a Berlin half-stepper, with turbulent detours into dub, radiophonics, and psychedelia. "Kime Ne" means "so what," "what's it got to do with you." The song adapts verses from the seventeenth-century poet Kul Nesîmî, wistfully invoking the Melami strain of Sufism as a touchstone of humility and tolerance in dark times. "Insanlar" means "humankind"... "The Human Beings." RV's mixes are expert, taut and hard-grooving. "2" is the more agitated and dubwise. Side D is etched with Katharina Immekus's lovely artwork.
CAT #: HJR 079LPVA A Stranger I May Be: Savoy Gospel 1954-1966 2LP
2022 restock. The first of three volumes surveying surely the mightiest Gospel label of them all. Stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming R&B. Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonizing Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of "Hit The Road Jack" and "Wade In The Water". Drawn from nigh-impossible-to-find 78s, sevens and LPs, hardly any of these recordings have been reissued since their first release. Presented in a gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork. Sound restoration and mastering at Abbey Road; pressed at Pallas. Co-curated by Greg Belson, compiler of Divine Disco; with deep, extensive notes by Robert Marovich, author of A City Called Heaven: Chicago and the Birth of Gospel Music (University of Illinois), and host of the award-winning radio show Gospel Memories.Features Famous Ward Singers, The Harmonizing Five, The Sensational Six, The Gospel Harmonettes Specials, The Christones, The Staple Singers, Swindell Brothers, The Roberta Martin Singers, Jimmy Scott, Shirley Caesar and The Caravans, The Blind Boys of Alabama, The Hightower Brothers, North Philadelphia Juniors, The Selah Singers, The Ward Singers, The Stars of Faith, Marion Williams, The Gospel Cavaliers, The Caravans, Eddie Williams and the Crusaders, The Davis Sisters, The Gospel Chimes, The Angelic Gospel Choir, and The Angelic Choir.
CAT #: HJR 080LPVA Turn It Loose, Ain't No Good: Savoy Gospel 1970-1979 2LP
2022 restock. The second of three volumes surveying surely the mightiest Gospel label of them all. Sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway, and Herbie Hancock's "Head Hunters" will have listeners throwing their pew cushions into the air. Drawn from hard-to-find 45s and LPs, hardly any of these recordings have been reissued since their first release. Presented in a gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork. Sound restoration and mastering at Abbey Road; pressed at Pallas. Co-curated by Greg Belson, compiler of Divine Disco; with deep, extensive notes by Robert Marovich, author of A City Called Heaven: Chicago and the Birth of Gospel Music (University of Illinois), and host of the award-winning radio show Gospel Memories.Features The Artistic Sounds, The Holy Lights of Baltimore, MD, The Swan Silvertones, Gene Martin, Myrna Summers, James Cleveland and the Southern California Community Choir, Betty Hollins, The Metro Tones, The World Wonders, The Brooklyn Skyways, Ida Maxey, The Thornes Trio, Mildred Clark And The Melody-Aires, The Highway Q.C.s, The Gospelaires Of Dayton, Ohio, The Exciting Supreme Highlights, James Moore, Prof. Charles Taylor and The Charles Taylor Singers, and The Brockington Ensemble.
CAT #: HJR 081LPVA You Better Get Ready: Savoy Gospel 1978-1986 2LP
2022 restock. The third of three volumes surveying surely the mightiest Gospel label of them all. Seventeen gems of fierce funk, rapturous soul and transcendent disco and boogie, super-charged with celebration and affirmativeness, loaded with roaring choirs, rocking horns and popping bass guitars, from the years leading up to Savoy's acquisition by Malaco. Hardly any of these recordings have been reissued since their first release. The stupendous opener by Edith Moreno only appeared as a blank-label promo, in a tiny run. Presented in a spot-glossed sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork. Sound restoration and mastering at Abbey Road; pressed at Pallas. Co-curated by Greg Belson, compiler of Divine Disco; with deep, extensive notes by Robert Marovich, author of A City Called Heaven: Chicago and the Birth of Gospel Music (University of Illinois), and host of the award-winning radio show Gospel Memories.Features Edith Moreno, The World Wonders, The Helen Hollins Singers, Solomon Burke, Genobia Jeter, The Lady Lois Snead with the Interdemoninational Mass Choir of Atlanta, GA, Charisma, The Stan Lee Revue, The Sensational Williams Brothers, The 4th Of May, James Cleveland And The Cleveland Singers, The Hollywood Stars, The Steele Family, and Glenn Jones And The Modulations.
CAT #: HJR 111CDASAKAWA, MAKI Maki Asakawa CD
2022 restock. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Sh?ji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
CAT #: HJR 201LPBAILEY/ANTHONY BRAXTON, DEREK Royal 2LP
2022 restock. Honest Jon's Records present a reissue of Derek Bailey and Anthony Braxton's Royal, expanded to include both intended volumes. Volume 1 was originally released in 1984; the second volume was never issued. The second release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton and Han Bennink (HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton's signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
I SHALL SING UNTIL MY LAND IS FREE (UKRAINE)
CAT #: SONG 001CDMUSLIMGAUZE Chechnya Over Dub CD
Chechnya Over Dub was originally released by Staalplaat as a part of Fatah Guerrilla in 1996. Written, played, and recorded by Muslimgauze. Release produced by Dmytro Fedorenko. Design by Zavoloka. "There is not a single misanthropic ideology in the World, even in theory, acting more cruelly and cynically than russism ... No moral principles -- they are all like animals. I don't want this war to stop. I need this war, its continuation. This war will go to the territory of Russia -- whether Russia wants it or not ... And the Western countries, the world community will not let it be stopped in order to completely isolate Russia and destroy it as a state, so that this predatory beast on Earth no longer exists." --Dzhokhar Dudayev, the president of free Chechnya. April 1995. On the front cover, there is a "Coat of Arms" of the Chechen Republic of Ichkeria during the First Chechen War for Independence.
CAT #: SONG 002CDMUSLIMGAUZE Shekel Of Israeli Occupation CD
Originally released in 2019 on Ultra-Mail Prod. Written, played and recorded by Muslimgauze. Release produced by Dmytro Fedorenko. Artworks by Dmytro Fedorenko. Design by Zavoloka Mastering by Yuriy Bulychev. "You cannot blame Palestinians for actions taken against an occupation force. You have to use force to free your land, full stop." --Bryn Jones
CAT #: SONG 003CDMERZBOW Peace For Animals CD
Originally released by Quasi Pop Records in 2007. Music by Masami Akita. Recorded and mixed at Bedroom in Tokyo, August 2007. Artwork and design by Zavoloka. Release produced by Dmytro Fedorenko.
CAT #: IF 1075LPMARTEL, SEB Saturn 63 LP
LP version. If the name Seb Martel is still unknown to you, the guitarist appears on the credits of classic albums from Tony Allen, Femi Kuti, Morcheeba, or Blackalicious. Saturn 63, his new album on InFiné is dedicated to the exploration of the electric guitar in all its nuances. This new opus made from a selection of nine guitars from the Musée de la Musique (a branch of the Philharmonie de Paris), and only enriched with the voices of his close collaborators (Camille, Sabrina Bellaouel...), unfolds on fourteen tracks a musical fresco faithful to the historical and geographical heritage of his instrument. The album includes fascinating reworks of Carl Perkins, Benjamin Britten, Chavela Vargas, or Vincent Ségal in addition to his own compositions. However, adopting a dogmatic approach, and dressing his compositions with sounds and effects collected during the recordings, Martel offers an abstract and experimental edge to Saturm 63, which transports the listener into an out of time experience. Two famous names of the French chanson, M (Matthieu Chedid) and Mathieu Boogaerts joined Martel to close the album with the snapshot of a speechless improvised session. Also features Cindy Pooch, Martin Gamet, Vincent Ségal, Nicolas Martel, Vic Moan, and Marc Anthony Thompson (aka Chocolate Genius).
IRON FIST (ITALY)
CAT #: LMM 001LPMOTORHEAD No Sleep In Switzerland: Live In Zurich 12 Nov 1982 FM Broadcast LP
Motorhead, live in Zürich, Switzerland on November 12th 1982. FM broadcast. Features covers of Chuck Berry's "Nadine" and Willie Dixon's "I'm Your Hoochie Coochie Man".
CAT #: JPR 093LPLOVE BATTERY Dayglo LP
"In the middle of the wonderful sludge that was coming out of Seattle in the late '80s/early '90s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more... dare we say... British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, Dayglo. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On Dayglo, inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through ten songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves--ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout. First reissue of Love Battery's 1992 debut Sub Pop album. Remastered by Jack Endino from the original masters. Includes liner notes with photos, lyrics and more. Pressed on blue sky opaque vinyl."
CAT #: KOM 417EPAGENTS OF TIME Music Made Paradise 12"
Italy's Agents Of Time have long been on the Kompakt radar. It started thanks to their exemplary releases on Correspondant and other labels such as Stem, Ellum plus 2019's collaboration with Mathew Jonson (from whom their name is inspired by). Michael Mayer had chance to play with them last summer at one of their Obscura parties and their friendship was cemented. Which leads now to their four track Kompakt debut, entitled Music Made Paradise. From Kompakt's early days of releasing landmark tracks from Justus Köhncke, the label has never been shy of exploring the enigmatic fringes of disco in their own way. Agents Of Time follow these footsteps but head into galactic territory with Music Made Paradise. They continue their knack for bridging synth-wave with modern bass rhythms in a means which are purely designed for today's dancefloors. This label debut is an incredible selection of music from this talented trio. French touch meets Italo chic on "Drive Me Crazy". At first, "My Heart Is A Microchip" comes across as a segue track, but opens into cascading synths and a predatory breakbeat to lead its own charge. "Under Control" is classy Moroder disco brought to the modern age. Aptly titled "Interstate 10" is an EP highlight -- the percussion lead is infectious and ready for prime-time exploration.
CAT #: KOM 449EPFUNKE, SASCHA Treets 12"
The long-running Kompakt imprint will release an EP by German DJ and producer Sascha Funke in September. Sharing five tracks that traverse quirky house and techno, Treets marks Funke's monumental return to Kompakt since his Zug um Zug two-tracker in 2014. Speaking about Treets, Funke says he is "very happy to be back on the mothership Kompakt" after an eight-year break. As one would expect with Funke, the EP fits the cosmic world of Kompakt to a tee. The title track conveys a weird, tripped-out atmosphere as an alien-like vocal burbles between an acid bassline and squeaky percussion. It's a tantalizing glimpse of Funke's freaky underworld. "E_Plus" follows a similar wonked-out vein, only this time, the vibe is ominous. Funke pairs an orchestral vocal with bleepy pads and signature acid-drenched melody 00 a solid offering oddball of energy. On "Alles Paletti", a 2-step drum pattern and string of bright claps create a sunny soundscape, complemented by a robust bassline and ethereal synth notes. It's fairytale house music, the kind only Funke can produce. The penultimate track "Haus More" is subdued, as chugging drums slither between a wobbly melody.
CAT #: KOM 450LPVA Kompakt Total 22 2LP
It's common knowledge that Kompakt's Total series serves as our yearbook, a musical wrap up of the past 12 months. Therefore, it doesn't come as a surprise that 2022's edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt's A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue. Kompakt founding member Jörg Burger adequately opens Total 22 with a groovy midtempo chugger that reminisces "Blue Lines" era Massive Attack as much as the late Andy Weatherall's low slung psychedelia. Jürgen Paape is calling a spade a spade with "Le Monde À Changé" -- the world has changed. Matias Aguayo returns to the mothership with "The Tiger", a lascivious beast of a track, perfect for getting lost in reveries. Perel is spreading love with her ravishing piano house tune "Matrix", taken from her recent album Jesus Was An Alien (KOMP 171CD/KOM 451LP). Jonathan Kaspar ultimately pushes the energy to (almost) post-pandemic levels. Mexican musician Rebolledo delivers a first solo appearance on Total with his trademark hypnotic desert sound. Michael gives the overly talented Danish singer songwriter eee gee a proper Michael Mayer treatment. Double-LP version features Voigt & Voigt, Perel, Rebolledo, Jürgen Paape, Bruno, Matias Aguayo, Jonathan Kaspar, eee gee, Michael Mayer, and Jörg Burger.
CAT #: KOM 454EPAGUAYO, MATIAS The Tiger EP 12"
With The Tiger, Matias Aguayo returns to Kompakt with his first EP for the label since 2014's Legende. Since then, he's been busy with all manner of experiments and explorations -- a monthly radio show on Worldwide FM, 2019's Support Alien Invasion; the essential El Rudo Del House series; an album on Crammed Discs with his group The Desdemonas. But something special happens when Aguayo returns to the mothership, as though he's reconnecting with something essential: "pop melancholy is just right there," he says. On The Tiger, Aguayo is in touch with the core of the flame, the music that's at the center of his being. While most of the music may have originated "in the foggy Mexican forest," he's sure that the EP is "still a Cologne record," something you can hear as soon as the prowling bass, shuffling rhythms and ghostly voices of the title track lope stealthily into earshot. The titular character is caught up in the sensuous tangle of the night, that space between dusk's delirium and dawn's dreaming. Aguayo sings, "Do you see the same I see? Are we having the same dream?" -- here, he's picturing an after-hours revelation, "on a warm muggy night with all sorts of background noise from various nightwalking animals -- but at the same time, I was a city dweller stranded in the jungle, who still dressed like he was about to go to the disco." The ascending, ever-circling bass of "Nightshift, The Red" tells another story, a spiraling mantra that's hypnotically psychedelic, yet elegant, refined, filled with sonic textures you can almost reach out and touch, like knotted twists of exotic fabric. "Show Me What You're Feeling" takes you back to the 1990s, with Aguayo re-working some vocal and lyrical fragments from three decades ago, its beautiful uncertainty remarkable in what Aguayo calls its "extremely emotional openness". Dappled with melancholy, it's a lover's hymn to intimacy and vulnerability. Aguayo signs off The Tiger with "El Propio Propio (Jubliant Mix)", a celebratory ending to an EP that's rich and complex, full of lovely musical moments -- the tender melodies woven through "Show Me What You're Feeling"; the warping, pliable, plastic textures that Aguayo crumples and crinkles through "El Propio Propio".
LEISURE SYSTEM (GERMANY)
CAT #: LSR 020CDDOPPLEREFFEKT Cellular Automata CD
Dopplereffekt's album Cellular Automata from 2017 is finally available on CD for the first time. Cellular Automata approaches mathematical growth and decay as an iterative process, with each data input considered individually relative to the overall model. The result represents one of the group's boldest creative endeavors, defying expectations while remaining unmistakably Dopplereffekt. Cellular Automata is the third Dopplereffekt release to come via Berlin's Leisure System label, following 2013's Tetrahymena and 2014's Hypnagogia.
CAT #: LSR 026CDDOPPLEREFFEKT Neurotelepathy CD
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 080EPY2C/CURSES/YOUNGER THAN ME Still There 12"
Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are there. They're there where it's at! It was the bond of bold friendship that brought these guys together -- and of course a shared history of subgenre juxtaposition and meshing. Both grew up on punk, rap, and of course the early days of techno. Still There is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early trance and breaks mixed with the attitude and energy of EBM and electro. Starting with the moody slow beats of the title tune "Still There", Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the sirens that seduced good old Ulysses. Y2C pick up on that dreamy vibe but throw in that slight and subtle trance-factor, taking up speed with "Romantic Squat", dragging you into their very own romantic squat. Next up is "Love Your Enemy" -- oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back -- especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all! The last track "Mairei" is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it. This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of rave/wave energy, with many more to come, a force to reckon with.
LIVE FROM EARTH KLUB (GERMANY)
CAT #: LFEK 013EPKEV KOKO/DJ GIGOLA/PERRA INMUNDA No Es Amor 12"
After the intriguing collaborative efforts on their debut EP Tender Trance and the follow-up EP Sueño, DJ Gigola and Kev Koko are back with a three-track record. Continuing their hybrid production style, this time, they are joined by rapper Perra Inmunda. Perra's fast paced flow and staccato rhymes blend seamlessly with Kev Koko's signature groove. Together with DJ Gigola's airy, ethereal chorus vocals, the result is a playful exploration of modern music that picks up right where the previous EPs left off: blurring lines between techno, pop, and now also, rap. Lyrically, the EP examines three different aspects of love. Sweaty dances on the floor, kisses lost on the way home and the solitude of being left unanswered; it seems only fitting they chose the title No Es Amor. The EP will be released on Live From Earth Klub.
MAIS UM (UK)
CAT #: MAIS 044LPOKI Tonkori In The Moonlight (1996-2006) LP
2022 repress; LP version. Tender tonkori melodies, meditative dub excursions and hallowed folk vocals combine on Tonkori In The Moonlight, an 11-track collection of mostly traditional songs performed by indigenous Ainu musician OKI. Born on the Japanese island of Hokkaido in 1957, OKI's released his debut album in 1996 and since then he has recorded 11 studio albums both solo and with his Dub Ainu Band and toured internationally -- from WOMAD in the UK to the John F. Kennedy Center in Washington DC via festival appearances in Singapore, Australia and across Europe. OKI is one of only a handful of musicians who play the tonkori, a five-stringed Ainu harp, which is both the pulse of this record and the force that unifies the disparate sounds he introduces such as reggae, dub, Irish folk, throat singing, African drumming and music from Central Asia. Tonkori In The Moonlight features Umeko Ando and Kila. For fans of: Midori Takada, Siti Muharam, Minyo Crusaders, Les Filles De Illighadad, African Head Charge, Mamman Sani."Supercool Japanese minimalism" --The Observer."Like nothing you've ever heard before" --The Wire."The edgy cool of Jamaica meets the kitsch cool of Japan... charming and compelling" --The Independent.
MANIACS REC (ITALY)
CAT #: MANIA 094LPRAMONE I.C.L.C., DEE DEE I Hate Freaks Like You LP
Reissue, originally released in 1994. This was Dee Dee Ramone's band after the Chinese Dragons. Dee Dee played guitar and sang. Johnny Carco played bass and did backing vocals. Nina Hagen guest vocals. Released on Rough Trade in 1994. I.C.L.C. stands for "Inter-Celestial Light Commune". Dee Dee Ramone, the king.
CAT #: MINIMOOD 023EPDIVE, SASCHA Stressed Out 12"
Sascha Dive is back on Minimood with a simultaneously implosive as well as explosive record. His minimal/tech-ish smashing original is complemented on the flipside by a super stripped-back Black Merlin remix and an uplifting dark-disco Zombies In Miami banger. Vinyl only, one love.
MONSIEUR RECORDS (AUSTRALIA)
CAT #: MNSR 1001LPVA Wildsville! LP
There is already Weirdsville! (MNSR 1003LP) and Wowsville! (MNSR 1002LP) and now the collection is complete with Wildsville!... Oh yeah, including the Gamma Goochee Himself, The Creep, The Lifeguards, and so much more. If you don't already have the other couple of volumes in this series, you really should. These were compiled by the same folk that originally did the Born Bad series. Good enough pedigree for you? Also features Travis Wammack, Hollywood Hurricanes, The Big Beats, Ron & Joe And The Crew, The Knockouts, The Opposite Six, Johnny Amelio, Drits & Dravy, Bobby Lee Trammell, Big John Taylor, The Triads, The Toads, and Kai Ray.
CAT #: MNSR 1002LPVA Wowsville! LP
The first volume of a series of three volumes -- Wowsville!, Weirdsville! (MNSR 1003LP) and Wildsville! (MNSR 1001LP) -- originally released in the '90s by the same folk that did the Born Bad series so beloved by The Cramps fraternity... And these are just as good, in fact a natural progression if you like (although, unlike a certain UK company who put a Cramps reference on any old compilation, these never did). A fine mix of oddball '50s and '60s tunes to get any party swingin' -- '60s trash, '50s rockin and exotica from god only knows... Features Trig Williams with The Jokers, Paul Ott, Dave S. Trio, Johnny Donn with The Jazzrockers, The Spinners, Duke Mitchell, The Viscounts, Tommy Blake, The Visions, Jan Davis, Jeff Barry, The Zulus, Bobby Dean, The Shades, Bobby Warren & The Rebelettes, Bobby Bare.
CAT #: MNSR 1003LPVA Weirdsville! LP
The third volume in a series of three -- Wowsville! (MNSR 1002LP), Weirdsville! and Wildsville! (MNSR 1001LP) -- originally released in the '90s by the same folk that did the Born Bad series so beloved by The Cramps fraternity... And these are just as good, in fact a natural progression if you like (although, unlike a certain UK company who put a Cramps reference on any old compilation, these never did). A fine mix of oddball '50s and '60s tunes to get any party swingin' -- '60s trash, '50s rockin and exotica from god only knows... Features Bob Vidone & The Rhythm Rockers, The Decades, The Zanies, Randy Luck, Jim Backus, The Social Outcasts, Fritz & Jerry, The Rockbusters, Little Eddie Woods, D.D.T. & The Repellents, Johnny Royal, Jimmie Heap & His Orchestra, Jim Doval & The Gauchos, The Exports, S&H Scamps, and The Rockin' Rebels.
MULE MUSIQ (GERMANY)
CAT #: MUSIQ 277LPSUPERPITCHER Hollywood LP
In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in "Hollywood," the place where they pay a thousand dollars for a kiss and fifty cents for your soul. Three years after he celebrated Sketch of Japan EP (2019), Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named Hollywood, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It's a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance -- all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with seducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, Hollywood should be perceived in one go to feel the depth of Superpitcher's tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music's constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka's painting. It asks for endless rides on the Hollywood freeways. in the back the sun -- a big orange ball -- sinking slowly below the horizon. You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.
CAT #: MUSIQ 283LPFLUGEL, ROMAN Balmy Evening LP
Beautifully drunken it hums, the piano in "Pianopiano", the last tune of How To Spread Lies, the first EP by Roman Flügel for the Hamburg based label dial from the year 2010. Or take "Strich", a peculiar electrical slow-motion grinder, out on his Mutter EP for Klang Electronic in 2006. For a long time, the renowned DJ and producer from Frankfurt is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, the senses relieve, and the soul quietens. All of his previous few albums, All The Right Noises (DIAL 038CD/LP, 2016), Themes I-XIII (2018), Eating Darkness (RB 015CD/LP, 2021) have moments of tension and relaxation in a deep harmonious connection. Now Balmy Evenings, a sundown record for sunups. Eleven notions in journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of Roman Flügel's solo and project productions in his more than 30-year lasting career comprise. Still, most of them squint on the dancefloor, where jack is king not so Balmy Evenings, where real dancefloor bangers are omitted. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer "Duftschulter", or the artificially jacking "Greenhouse", where nervous synth patterns ball along soft breaks and decreet kicks. likewise, "Super Sonne", an odd, seemingly improvised synth conversation might ask some souls out for a dance. But all others, like "Atmosphere", "Frei", "Dolphins", "Goth", or "Ambienteuse", rather seek for the tranquil in each one's spirit. Listeners must be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow in an analog vs. digital sound scope. An album full of silence, utterly loud, displaying a playful, adventurous artistic facet of a celebrated club music producer, to whom atoms dance in manifold ways.
CAT #: MUSCUT 016LPNIKOLAIENKO Nostalgia Por Mesozoica LP
Nostalgia Por Mesozo?ica is an exploration of "experimental exotica" consisted of synthesized tropical attributes -- an artificial landscape isolated behind the glass frame. Reminiscent of recording techniques and sonorities ubiquitous in the '60s and '70s, it could conceivably have been intended as a soundtrack for the Mesozoic Era exhibition at your favorite natural history museum. Mastering by Flaty. Cover artwork/photos by Dmytro Nikolaienko. Features Arthur Mine and Amphibian Man II.
NEOLITHIC RECORDINGS (UK)
CAT #: NEOLITHIC 010CDELSWYTH, JACKEN Six Static Scenes CD
With the start of the first lockdown, Jacken Elswyth inevitably had a sense of place-boundness on her mind. For a while she had wanted to play around with some pieces that didn't go anywhere or develop too much and thought that the lockdown context justified it. She had also been listening to a lot of old folk recordings; going through the Topic Records Voice of the People albums to find songs and tunes to learn. During this period of study, she started to focus on the odd and irregular moments in the recordings -- maybe slips and mistakes, maybe just idiosyncratic ways that people played and transmitted those old tunes. For Six Static Scenes, each piece would explore a fixed idea, taking these slips, flourishes, and idiosyncratic artifacts of folk technique as prompts. The record was originally recorded for Cafe OTO's digital-only Takuroku label and is now being given a full physical and digital release by Neolithic Recordings. Linocut cover artwork is by Alex Mackenzie. "I could listen to this quicksilver picking all day" --The Quietus.
CAT #: NOTON 054LPALVA NOTO + RYUICHI SAKAMOTO Utp_ (Remaster) 2LP
Double LP version. Released for the first time in 2009, utp_ is the third installment of Alva Noto and Ryuichi Sakamoto's V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing ten-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work's debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards. Album art designed by Carsten Nicolai. Mastering by Bo at Calyx.
CAT #: NA 5239LPGARDINER, BORIS Ultra Super Dub Vol. 1 LP
"The lost albums in jamaican bass player, bandleader, songwriter, singer and producer Boris Gardiner's discography -- First official issue of these impossibly rare albums. Contains extensive booklet, with Jeff Mao detailing Gardiner's career and the '70s Jamaican music industry. Unpublished photos and ephemera 1970s. Jamaica suffered an unprecedented stretch of political turmoil and violence, and as the country's economy and morale collapsed, reggae and its offshoots exploded worldwide. Boris Gardiner enjoyed great success leading bands, issuing albums that mixed reggae, ska, soul and funk, and collaborating with the likes of Lee (Scratch) Perry and Herman Chin-Loy in their legendary studios and playing on hundreds of records. So many that he lost count. Sometime around the issue of his Boris Gardiner Happening Is What's Happening album -- a loft classic, with David Mancuso favoring Gardiner's take of Booker T. and the MG's 'Melting Pot' at his legendary gathering -- and his soundtrack to Every N----r Is A Star, famously sampled by Kendrick Lamar and used as the introduction to the film Moonlight, two albums -- Ultra Super Dub Vols. 1 and 2 -- credited to The Boris Gardiner Happening -- two albums so obscure that for the longest time Boris wasn't even aware that they existed. Following classics such as King Tubby's Dub From the Roots and Augustus Pablo's King Tubbys Meets Rockers Uptown, Miami-based Alty East's Ultra Records took instrumentals Gardiner created for a run of 45s, and created and issued these compilations of dubbed out originals and JA renditions of songs by Otis Redding, Clarence Carter, Betty Wright, Jimmy 'Bo' Horne and Ultra label-mate Frankie Zhivago Young. Released in tiny runs in handmade, silkscreened, paste-on covers, they have become some of the most sought-after Jamaican albums. Now, issued under Boris' guidance, and with a detailed booklet by Jeff Mao, which delves into the deep scene which birthed these remarkable records, we can finally consider the last, unheard portion of this landmark musician's career."
CAT #: PING 052-2EPOTTO, ANDI Bangalore Whispers 7"
Andi Otto's "Bangalore Whispers" gets finally repressed. The psychedelic track which he recorded together with the Indian singer MD Pallavi in 2016 has become a hit in the downtempo scene around the globe ("Saaaa - resa nisa"). Pingipung press a new edition of the much sought-after single on the occasion of their 20th label anniversary. In this 2022 edition the original track is paired with the Peter Power remix which has not seen the light of day on vinyl before. The Brazil-based producer slows the track down a notch and adds even more space. A perfect tune both for the dancefloor or meditation.
CAT #: PING 075LPVA XX, Pingipung: A Record Label Turns 20 2x10"
Happy birthday dear Pingipung! 20 years! Wow! 2002-2022, that's 20 years of Pingipung! The German record label celebrates its anniversary with exclusive tracks by a fine selection of artists from the label roster as well as new names. Instead of looking back at the classics, Pingipung chose to compile a kaleidoscopic preview of possible future directions for the label. The line-up features playfully melancholic songs by Museum of No Art, Peter Power, or The Notwist, an excursion to the desert by RVDS or a psychedelic take on dub in Tolouse Low Trax' remix for the Ainu singer Umeko Ando. Artists such as Anadol, Y Bülbül, Andi Otto & MD Pallavi, M.RUX, Sven Kacirek, Schlammpeitziger, Peter Presto, and F.S.Blumm are already well known to the Pingipung audience. They contribute exclusive new tracks, adding to their existing output on the label. It's impossible to file this compilation under a genre, which is exactly the case with Pingipung in general -- bull's eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: a 2x10" vinyl in a gatefold sleeve.
CAT #: POTOMAK 819901EINSTURZENDE NEUBAUTEN Zeichnungen Des Patienten O.T./Drawings Of O.T. LP
2022 repress; 2002 release. LP version. Originally released in 1983, Einstürzende Neubauten's second album marks a radical progression in the band's sound as well as a revolutionary step forward in the realms of industrial and experimental music. Bassist Marc Chung (ex-Abwärts) and electronics engineer Alexander Hacke (later a member of Crime And The City Solution) joined the band during this time, and singer Blixa Bargeld also became a full-time member of Nick Cave And The Bad Seeds. Despite each members' background, Einstürzende Neubauten's ethos -- "Destruction is not negative, you must destroy to build" -- treaded on ground that was explicitly anti-music. Through their intuitive compositional approach and application of found, industrial objects into song forms, the band's sonic trajectory was intent on generating entirely alternate modes of music-making. In contrast to the all-out destructive barrage of their debut, however, Zeichnungen Des Patienten O.T. reveals an astonishing maturity in its varied and dynamic range of textures while still being no less uncompromising.
RADIATION REISSUES (ITALY)
CAT #: RRS 126LPSIB The Third World War LP
First ever vinyl reissue, originally released in 1981. Founded in the northern Italian port city of Ravenna in the summer of 1980, S.I.B. (Swelling Itching Brain) was comprised of former members of new wave covers band R.N.A. Transfert, singer Tracy Crazy was a huge UK Subs fan. The band's scorching live performances drew a loyal following, leading to an approach by L.M. Records, Ravenna's foremost punk and new wave imprint, to cut Third World War, their sole LP. The band's sound was a very personal one, with reggae, punk, hardcore, and new wave all part of the mix -- too varied for an audience strictly loyal to genre boundaries. Unjustly overlooked following the group's demise, we are pleased to give Third World War the reissue it deserves some 40 years later. Gatefold; includes double-sided insert and liner notes by Stefano Gilardino; edition of 500.
CAT #: RRS 168LPCRYPTIC SLAUGHTER Speak Your Peace LP
Reissue, originally released in 1990. Following the differences that saw the original group implode on the road in 1989, Cryptic Slaughter's guitarist Les Evans moved to Portland, Oregon, where he formed a new band with former Wehrmarkt and Sweaty Nipples drummer Brian Lehfeldt, plus bassist Bret Davis and vocalist Dave Hollingsworth, both formerly in local hardcore band Crud. Now metal was much more prominent and hardcore on the wane, but there are still signature tempo changes, here within longer, more complex song structures, prefacing the industrial and post-thrash crossover acts to follow. An enduring swansong for all lovers of these metalcore innovators. Black vinyl. Double-sided insert included with an exclusive interview and liner notes by Alexandros Anesiadis.
CAT #: RRS 177LPCRYPTIC SLAUGHTER Stream Of Consciousness LP
Reissue, originally released in 1988. Formed in Santa Monica in 1984 by guitarist Les Evans, drummer Scott Peterson, and bassist Adam Scott -- soon replaced by Rob Nicholson, who joined after singer Bill Crooks arrived, metalcore pioneers Cryptic Slaughter gained an early reputation as one of the fastest of all west coast hardcore bands. Following the success of Convicted (1986) and Money Talks (1987), Stream Of Consciousness is the last album to feature the original line-up, the band having broken up prior to its release; with multiple tempo changes on each song, this is the group at their inventive peak, prior to the regrouping that brought a more concerted metal direction. A milestone in the history of crossover thrash. Black vinyl. Includes double-sided lyrics insert.
CAT #: R-M 147LPATOM TM HD LP
Atom TM's electronic quintessence: a blend of pop, electronic abstraction and powerful grooves. HD can be described Atom TM's electronic quintessence: a blend of pop, electronic abstraction and powerful grooves -- an invention Atom TM Stands for and which was popularized through previous releases, classics in the electronica genre, such as Pop Artificielle and others. Here is what the artist says: "As so often I was asked to say and write something about the recording you are currently having in front of you: HD. To any musician this is no doubt a complicated moment, since the choice of medium had already been taken in the first place: music. However, it seems that the written word needs to accompany the music, if not just to make sure the composer knows how to defend himself. Let me be frank, in the past this has been a rather ungrateful job, due to the fact that words either seem to appear like a method of justification or explanation of something that in my modest opinion doesn't need either one of the two. In the same sense in which "Liedgut" wasn't about romaticism and "Winterreise" had nothing to do with Schubert, HD isn't about anything I'd wish to express in a lengthy text or would like to see you being able to pinpoint or sell with a flashy headline. In order to get done with the headline, apart from the rather descriptive details I will dedicate my time to in an instant: HD is a spiritual work, HD is a musical work, HD is a scientific work. The first recordings for HD were made in 2005. Back then the album still carried another title which was Hard Disc Rock. The initial selection of songs for Hard Disc Rock was of course a very different one, and while the years passed by most of those songs which did not continue to please, were one by one replaced by newer compositions . . . All of the "early" tracks for the later re-entitled HD album necessarily were subject to profound changes in music and words, and i can say that by the time around 2012 Hard Disc Rock had completely transformed into something else, which is pretty much what you got laying in front of you right now. HD contains a couple of contributions by friends and colleagues such as Jamie Lidell (main vocals on "I Love U"), Alva Noto (additional programmings on "Ich Bin Meine Maschine"), Marc Behrens (additional programmings on "Strom" and "My Generation"), Jean-Charles Vandermynsbrugge (main vocals on "Pop HD"), Dominique Depret (guitars), and Chilean pop star Jorge Gonzalez (backing vocals, guitar, bass).
RAVE UP RECORDS (ITALY)
CAT #: RUR 090LPFRONT, THE Wet Things LP
Excerpt from Gregory McLaughlin's liner notes: "The Front were formed on Miami Beach in 1980. They were managed by Warren Tepper, son of famous songwriter Sid Tepper ("Red Roses For A Blue Lady", "Blue Hawaii", "G.I. Blues"). Warren was walking his dog along the beach and heard us recording demos from a beach house, so he walked in introducing himself and asking if we had a demo he could play to his father: we did, and the next day he became the band's manager. I started out playing bass and sang lead vocals. Shortly after, guitarist Randy Rush asked me if I would drop the bass and become the frontman, while informing me of two soon to be Front members. The lineup was me on lead vocals and synth, Randy on lead guitar, Steve Myers on bass and vocals, Flynn Picardal on guitars, synth and vocals and Larry K Hill on drums and vocals. Upon meeting the guys, some rules were laid down by Steve: cut off the fat you don't need; no drum solos; no extravagant soloing. We also made a promise: never will this band play a cover tune. We never did. As a result, we developed our own unique sound. To the Miamians we were weird, but also tight and catchy: people soon remembered our songs' hooks. We all wrote and the band was very prolific. In 1981 we did our first 7" EP The Front First Strike at Sync Studios on our DIY label FOAM Records. The B side 'Immigration Report' hit #1 on WVUM and went on to heavy rotation on college radios across the US. The band played everywhere there was a stage, eventually becoming the opening act for bands such as U2, Psychedelic Furs, The Go-Go's, Ultravox, Bow Wow Wow, and many others. In 1982 we released our second single "Aluminum Room", which garnered the band a Billboard Single Pick. Many major labels were courting us... Nevertheless, by that time the band members were fragmenting personally and artistically: on 7/25/1983 we played our last gig at a club called The Blitz in Hialeah, FL with a surprise appearance by Joey Ramone. A few years back, The New Times listed The Front at #5 of the "Greatest 20 Florida Punk Bands Of All Time" list. Not getting signed has its rewards, so put your headphones on and listen to a band that was on the cusp of international fame 40 years ago but just being heard today." Edition of 500.
CAT #: RUR 091LPBADHABIT Detroit 1980-1981 LP
Totally obscure Detroit band from early eighties, a hidden treasure which savagely yelled to be dug out. 12 previously unreleased tracks of dirty rock n' roll from the punk Mecca. A must-have for Motor City sound lovers!
CAT #: RURI 006LPTRANCEFUSION Incredible But True! LP
Full unreleased album from this 1978 band from Rome, Incredible But True! is a perfect title for a long-lost recording finally unleashed by the archival punk label Rave Up Records. Born in Milan and relocated in Rome, Trancefusion has been a true legend in the Killed By Death punk scene for four decades. These tapes have been finally restored and the album sees the light of day after 44 years. Germs-inspired nihilistic punk rock sung in English, another pleasant work of passion from Rave Up Records. Edition of 500.
CAT #: R 010LPCONNORS, LOREN Airs LP
Second pressing of Recital's vinyl edition from 2015. Over the 22 years since Loren Connors's Airs was first published, it has drawn a thick circle of fans. Gently recorded to cassette tape in 1999, (with wonderfully subtle multi-tracking). Airs is comprised of a series of brief electronic guitar poems. Intimately composed with the patience and purposeful hesitation that is reverently come to expect from Connors. Lyrical melodies recur in different forms throughout the LP, as shifting figures in a dream. Shadowy and sunken, the tone evokes an overcast landscape. The album feels singular; woven along as one flowing piece. Airs is perhaps the most approachable and beautiful in all of Connors's catalog, seducing strangers and familiars just the same. Forlorn wonderment; a human quality that makes this such an enchanting record. It is the humble simplicity and the directness of the guitar inflection that conveys such truth. The stark grace of Connors' playing resonates here for all to embrace. New transfer of the original four track cassettes. Includes an unreleased "lost" track, discovered during re-transfer. Remastered for vinyl by Taylor Dupree at 12k Mastering. 180 gram vinyl; Includes eight-page booklet of photographs and a not by Loren; second edition of 600.
CAT #: R 094CDRUSH, LOREN Omaggio a Giuseppe Ungaretti CD
Omaggio a Giuseppe Ungaretti, the second Recital album of composer Loren Rush (b. 1935), contrasts the orchestral grandeur of 2021's LP Dans le Sable (R 089CD/LP) with plaintive just intonation piano improvisations. Loren Rush has been active in the Bay Area new music scene since the late 1950s alongside composers such as Terry Riley, Robert Erickson, and Pauline Oliveros, and also co-founded Stanford University's Center for Computer Research in Music and Acoustics in 1975. His music has been performed by the Boston Symphony Orchestra, the New York Philharmonic Orchestra, and the San Francisco Symphony Orchestra. Though few of Rush's compositions have been published, he has garnered deep respect from his peers and colleagues over the decades. The album is directly inspired by poems from L'allegria (The Joy, 1914-1919), the collection of poetry by Giuseppe Ungaretti (1888, Egypt -1970, Italy) written in the trenches of World War I. During these brutal years Ungaretti struggled to maintain his humanity by creating the most beautiful images he could imagine and by recalling experiences of his earlier life in Alexandria and Paris. By this, he both revolutionized Italian poetry and demonstrated that the creation of beauty is a most effective life preserver and political statement. Veglia (Night Watch): "An entire night cast beside a comrade massacred, his snarling mouth turned to the full moon. In my silence I have written letters full of love. Never have I held so fast to life." Rush's melancholy preludes are treated with "The Enhanced Piano in Just Intonation", developed at Good Sound Foundation by the composer and Alfred Owens. The process electronically enhances and increases perceived resonance, sustaining, coloristic and expressive capabilities. Just intonation describes a system of tuning in which the greatest level of consonance and resonance is achieved by adjusting intervals to the whole-number ratios of the harmonic series, the natural mode of vibration. The suite concludes with the silken chamber piece "Mattina" (Morning), reflecting Ungaretti's stark words, "I illumine me, with immensity." The addition of violin and cello suspends the listener in a prolonged space of dread and beauty. Includes booklet of poems by Ungaretti; glass-mastered CD; Edition of 200.
CAT #: R 095BK
FILE UNDER: MiscCORNER, PHILIP The Art of No-Art Book
A new book of scores by artist and composer Philip Corner (b. 1933). The Art of No-Art is a collection of 385 new graphic scores written between 2019 and 2022. Each score is a single-page meditation based around octaves. Though written mostly for piano, the scores could be arranged for other instrumentation (for those with fewer than an eight-octave range). The Art of No-Art explores the endless possibilities of one musical note (and its bounded harmonics). The pieces can be performed by people of any skill level; rudimentary or advanced navigations are possible. A supplemental audio download is included, which features recordings of many scores from the book, played on a variety of instruments by Agnese Toniutti, Rhodri Davies, Sarah Davachi, Derek Baron, Philip Corner, Matt Hannafin, Charlie Morrow, Zachary Paul, and Silvia Tarozzi. Additionally, Philip Corner wrote instructions for Sean McCann to collage all these recordings into a grand piece of No-Art. A numbered art print of the score "Life's A Joke" is included, a piece for voice which invites the reader to sing (or shout), "life's a joke and all things show it, I thought so once and now I know it." First edition of 100; 364 pages, 12x8" perfect bound book; "Life's A Joke" numbered print; audio download code of scores performed and collaged.
CAT #: RER HS1HOMOSEXUALS, THE The Homosexuals CD CD
2022 restock. "The Homosexuals -- Anton, Jim and Bruno -- were a legendary three-piece art-punk band that existed for only a short time, from 1978-81. Able to record in downtime at Surrey Sound (the studio responsible for 10cc and The Police), they developed a breathless 'do everything in two minutes' production style. Some tracks only exist as distorted rough cassette mixes, but the songs shine through the sound quality. Much of the music is beautifully recorded however, and the full complexity and audacity is like a bucket of cool refreshing water."
CAT #: RUMP 008LPKALABRESE Let Love Rumpel (Part 2) 2LP
Double LP version. Includes vinyl only track "Alone In The Studio". Kalabrese, the pleasant Rumpelzampano from Zürich, is back with 11 songs that get under your skin and straight into your hips. The follow-up to Part 1 (RUMP 007CD/LP, 2021) is less pop-structures, more trippy and floating, reminiscent of his debut album Rumpelzirkus (STATT 002CD, 2007) at times and leveling perfectly between head nodding moments, Balearic sounds and massive Kalafunk. The story of the album naturally continues and bears the hallmark of Sacha Winkler who's not getting tired exploring and experimenting with his music. "Kevin und Sandra" is a strong, technoid, rocking yet poetic introduction to the album. Hypnotic driving synths howling over a stoner rock alike drum beat and a fluid rollin' synth-bass. "Springbrunne" is a great "rap without rap" hymn featuring the elegant and relaxed voice of Kayyak. Over a heavy beat he's toastin' about reinventing himself through the splatter of a fountain before Deacon Blues, better known as Seth Troxler, suddenly joins in. The title song of the new album, "Let Love Rumpel" is an ode to the joy of raving together but and the perfect soundtrack for sunrise. "Eight Bars" is massive Rumpelfunk, showing that it doesn't need more than a simple bassline and groove to lean back in the spirit of funk. "Get Up And Try" is the nimble answer towards the exhausting polemic about measures within the pandemic and know-all caprices. A children's choir over a mid-tempo housebeat, a beautiful cello by band buddy Dominik Löhrer and the swingin' trumpet, performed by Rumpeljazzer Benjamin Danech. "Explore Yourself" is a collaboration with the vocal contributions of talented newcomer Palma Ada. "Die Kette feat Zoé Miku" is a powerful and hypnotic mid-tempo Balearic house jam with the contemplative vocals of Zoé Miku. "Healthy Again" features Palma Ada backed up by a wonderful brass section. "Middle Of The Night" is a stripped-back, lyrical segment. Carefully sculpted sounds, smooth and low bass tones and a captivating simple rhythm. "Halftime Blues" is quite the opposite; heavy and slow, a dub without echoes with a slightly dystopic texture to it. With "Don't Loose The Center" featuring Kayyak, Kalabrese is celebrating the Rumpelfunk again -- this time pimped up with a lot of piano and boogie while Kayyak is lifting his voice. Rumpelorchester's bass player Marci Dobozi delivers the magnificent piano.
CAT #: SDBANSEL 004LPRAPHAEL Stop, Look, Listen LP
Sdban Records announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972. Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley, and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol's Jazz Club where he played the music of Johann Sebastian Bach four nights per week. His album Stop, Look, Listen, which was recorded with the rhythm section of Babs Robert's group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It's highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël's passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: "He was a hippie before there were hippies. He wasn't part of the system but he had a system of his own."
SDBAN ULTRA (BELGIUM)
CAT #: SDBANU 025CDVA Lefto Presents Jazz Cats Volume 2 CD
The groove-obsessed Sdban Ultra present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto. Lefto Presents Jazz Cats Volume 2 features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, Lefto Presents Jazz Cats Volume 2 is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback "acoustic electronica" of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums. "By collecting all the music for Jazz Cats Volume 2, I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than four years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap, or Afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022..." 2018's Lefto Presents Jazz Cats (SDBANU 006CD/LP) was given the accolade of "Album of the Week" on Worldwide FM. Also features Stevie Qngo, ECHT!, Mike "Maz" Mahez, KAU trio., schroothoop, Dishwasher_, TUKAN, and Shungu & Mejiwahn.Tastemaker, selector, curator, DJ, and producer Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that molded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection. Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent.
CAT #: SDBANU 025LPVA Lefto Presents Jazz Cats Volume 2 2LP
Double LP version. Gatefold sleeve. The groove-obsessed Sdban Ultra present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto. Lefto Presents Jazz Cats Volume 2 features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, Lefto Presents Jazz Cats Volume 2 is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback "acoustic electronica" of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums. "By collecting all the music for Jazz Cats Volume 2, I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than four years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap, or Afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022..." 2018's Lefto Presents Jazz Cats (SDBANU 006CD/LP) was given the accolade of "Album of the Week" on Worldwide FM. Also features Stevie Qngo, ECHT!, Mike "Maz" Mahez, KAU trio., schroothoop, Dishwasher_, TUKAN, and Shungu & Mejiwahn.Tastemaker, selector, curator, DJ, and producer Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that molded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection. Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent.
CAT #: SDBANU 026CDCONDOR GRUPPE Gulliver CD
Gulliver, the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian '70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of Goat and you get an idea of what Condor Gruppe is. Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka, and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of "What Could Have Been", to the loose, laidback grooves of the mystical "Farid" and groovy "Rhymes On Our Mind", Gulliver is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves. Condor Gruppe released their debut album Latituds del Cavall in 2014 with nine exotica fueled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with FROG BOG - A Tribute to Moondog -- an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpretations, trumpet player Dirk Timmermans, saxophonist Matti Willems, and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound. Second album proper Interplanetary Travels (2018) -- a nostalgic, melancholic soundtrack -- saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded eight songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes. At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film Daughters of Darkness (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, famous soundtrack composer. De Roubaix has always been a great source of inspiration for Condor Gruppe.
CAT #: SHUKAI 003CSGONCHAROVA, VALENTINA Recordings Vol. 1 1987-1991 Cassette
Cassette version, C90. Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina's was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop-Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within Recordings Vol. 1, though as opposed to any degree of uncertainty Valentina's practice is one in flux by way of earnest curiosity. Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel-to-reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio, and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of "Metamorphoses" embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of "Higher Frequencies", whilst manipulated cello combines with synthesizer keys across "Passageway To Eternity". The slow, pulsating drone soundscapes recall the likes of Robert Rutman's US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros. The juxtaposition of written notation and improvisatory flare is central to Goncharova's sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (including bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina's home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures. Relocating to Estonia in 1984, in a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Private experimental home-tapes unheard for thirty years.
CAT #: SHUKAI 006CSGONCHAROVA, VALENTINA Recordings Vol. 2 1987-1991 Cassette
Cassette version, C45. Following the unpublished works of the Ukrainian/Estonian musician Valentina Goncharova, Volume 2 of Shukai's archival project sits in direct contrast to the solo works of Vol. 1. Vol. 2 1987-1991 completes Shukai's dive into the sound world of an important yet overlooked artist working within Soviet era electroacoustics. This long player of duets casts a light on Goncharova's experiences with early free jazz, democratic improvisation and introductions to pure electronic sound. Where Vol. 1 explored her home studio experiments and flirtations with musique concrete and new age, this volume seeks to give audience to similarly DIY recordings developed in collaborative environments away from the conservatoire. Properly documenting sessions revolving around smoky jazz cafes, art galleries, salons and theater venues across Riga and Tallinn, these seven pieces add to the historical narrative of the Soviet-era avant-garde and show the broader spectrum of Valentina's work. It begins in Riga with an adapted score for a delicately unfolding violin drone, voice and saxophone performance produced by Valentina and Alexander Aksenov. Valetina's bond with the multi-instrumentalist and theater director Aksenov led to decades of close friendship and several demo recordings such as "Reincarnation II". Across the rest of the disc are collaborative duets with Sergei Letov and Pekka Airaksinan respectively, the three tapes with Letov an example of recordings as a "rehearsal process". Atypical violin/saxophone techniques and light, difficult to place percussive textures interplay across the three duets with Letov, the sense of spatiality alluding to the very nature of the recordings. They strike ultimately as private, freeform experiments with sound, never intended for the listener but documenting a practice which explores the dichotomy of improv's "non-professionalism" and its potential freedom from trained performance. They are included as a deliberate variance to the tapes with Pekka Airaksinen, an already well-regarded composer, early synthesizer fanatic and Finnish radical. At their time of meeting, Pekka had diverted his attention from punk-indebted noise and free jazz groups to a pursuit of spiritualism via contemporary electronic technologies. Already familiar with the Buddhas of Golden Light LP, Valentina found in his work an attraction to the sacred and, after an encounter at a 1988 Helsinki festival dedicated to futurist art and literature, she prepared to visit his studio. After a failed attempt to record a joint album, fragments of the tapes are presented here, highlighting Goncharova's first real experience of electronic music making in a compositional sense. Fragmented guitar and additional keyboard patterns push and pull through delay units in unison with Valentina's two violins, at times mimicking the howl of the wind or even the human voice.
SLICES OF LIFE (GERMANY)
CAT #: SOL 005EPBAAZ Swimmer 12"
2022 repress. Baaz present three massive and rolling house pieces for Slices Of Life. "Swimmer" comes right in time for 2013's summer season with its strong beats and drifting chords that awake your lust to run through high summer grass. "Can't Get Enough" is a warm bundle of energy with weird vocal samples and light-footed percussion, and "Chummy" starts with a very dry and simple 4/4 bass drum plus snare figure before building up into a dubby disco-piece carried by a nicely filtered loop and hi-hats.
SOMMOR RECORDS (SPAIN)
CAT #: SOMM 075CDDROIN, DOMINIQUE Wave On CD
First ever reissue of this impossible to find private acid-folk album from France, released in 1972, related to Long Orme and originally released as a tiny pressing on cult Kiosque d'Orphée label (the French Deroy). Recorded by French musician Dominique Droin (later a Gipsy Kings backing musician) and some friends/musicians at a basement studio, the album has a charming homemade vibe and melancholic atmosphere with a strong UK folk influence (think Donovan, John Renbourn, Bert Jansch, or Nick Drake). Beautiful songs in English with acoustic guitars, flute, cello and even full electric backing on the monster eight-minute psychedelic title track. CD version includes bonus track: "The Capricorn and The Libra (2021 version)".
STUDIO MULE (GERMANY)
CAT #: STUDIOMUL 038EPDIP IN THE POOL What About This Love (Chaos In The CBD Remix) 12"
Japanese legendary experimental pop duo Dip In The Pool comes back with a brand new song. This time they made a cover version of their beloved Larry Heard's house classic "What About This Love". Their original version is oriental synth pop style and UK based deep house new talent Chaos In The CBD made a more electronic house version.
CAT #: STUDIOMUL 041EPITABASHI/HENRIK SCHWARZ/KUNIYUKI, FUMIO Watarase Joe Claussell Remix 12"
After great rework of the jazz classic Watarase by Fumio Itabashi, Henrik Schwarz, Kuniyuki, Joe Claussell reconstructed Watarase. It's an epic cosmic jazz fusion. Joe Claussell meets Kuniyuki are always best. On B side, it's a rare minyo (Japanese folk song) version of Watarase. It's a live version that Fumio Itabashi played with the local orchestra and minyo singer. A lot of diggers have been wishing to be released on vinyl. This release is one of the most important released in studio mule's catalog. Also features Kanagawa Philharmonic Orchestra and Yuki Kaneko Symphonic Poem.
SUB ROSA (BELGIUM)
CAT #: SR 526CDKNIZAK, MILAN Another State of Stagnation / Piano Pieces (1991-2021) CD
"My piano compositions are a mixture of musical reminiscences and a confession of my love for disharmonic chords on the one hand, and lascivious melodies on the other. As in the case of almost all my pieces, I wrote them 'dry', at a desk, without using any musical instruments. I only worked with memory and a little bit of imagination. The compositions often come across as randomly taken out of a pot, which contains a blend of fragments of works of a variety of periods, styles and creators." --Milan Knízák, Mongrelised PianoAnother State of Stagnation contains six unreleased piano pieces by Milan Knízák, written between 1991 and 2021. Played by Czech piano virtuoso Miroslav Beinhauer in August 2020 and recorded in August 2021 at Czech Radio Ostrava under the Petr Bakla's recording direction. The author of the title and cover is Milan Knízák. Produced by re-set production. In the second movement, at least two references to Czech "tramping" (hiking, country) music can be read or heard: Ceka huãí and Táboráku, plápolej. They are among the numerous references to other pieces, while they can concurrently be something else -- for instance, a Beethoven minuet. Beinhauer pointed out: "Milan KníÏák's piano works abound in these 'quotations', some of which are just very similar to well-known melodies, while others are true quotations... I do not even recognize some of them at first listen, but that is not actually the point. If someone does identify these quoted fragments when listening, they can feel good about themselves or can even remember the whole piece better, but I myself do not deem it essential in the case of Milan's compositions. Alternation of styles is more important."
TECHNO PARADE VINYL (BELGIUM)
CAT #: TPV 003EPARMANI, ROBERT Bass 1990's 12"
Techno Parade Vinyl release this brand-new project by Robert Armani. The successful Hit Hard Remixes with the label's beloved artist has proven that he is still a legend. Straight techno with his very own sound is going to burn the hearts of you all no doubt. Techno Parade for techno lovers.
CAT #: TRAUM 274EPHALM, CARSTEN Licht Und Schatten 12"
Traum release another vinyl 12" with Carsten Halm adding up to the series the label have released with him so far. This EP marks the end of the series, but not the end of the relationship with Carsten. Carsten has been very successful with his releases on Traum starting with his Taubenflug EP in June 2020 followed by Fuchsbau and Hammerhai. As Traum stated with his first EP: "His music has the unique quality to bring people together and experience something very positive." Carsten showed this quality with all of his EPs and last but not least this also makes him a popular DJ. Carsten plays clubs all over Germany but he still sticks to his roots and organizes parties in his hometown Cologne in his own dedicated space which he has rebuild with his friends after it was destroyed last year. The fourth vinyl release with Carsten Halm Licht Und Schatten highlights another cover design by graphic designer Daniela Thiel and shows collages of the animals in a similar graphic context as his previous releases. The idea was to keep the graphic idea of the series but to use only artifacts of his previous designs to create a new cover. The EP kicks off with "Licht" a track that has the quality to embrace you emotionally as well as musically with a massive warm and widening synth sounds that is a true A-side tune. "Chimäre" instead is more jumpy and good natured, resulting in a nice break to carry the listener throughout the track. "Schatten" kicks off with a rather dry drumming but in the course of the track is joined by a merry melody which is pushed aside by a bad ass rectangle synth sound that inflates the track with a techno spirit that is very welcomed at open airs. The EP closes with the track "Notes" a horse ride though valleys of sparse vegetation with a happy sad Morricone inspired soundtrack that is very easy to like.
CAT #: UME 001LPDEVANE, JAMES Beauty is Useless LP
Though Beauty is Useless is only his second solo record, James Devane has been producing and performing music for over two decades, both in isolation and collaboratively (most notably as his duo En with Maxwell August Croy). While his first record (self-titled on Bremsstrahlung) explored digital manipulation of guitar-based loops, Beauty finds Devane replacing the computer processing and aural landscape projection for a couple vintage keyboards, modular based effects, and most notably, a drum machine. Evoking elements of German minimal techno, Beauty is a rich, focused discovery of process and restraint where less is refreshingly more.
CAT #: UME 002LPMATHIEU, STEPHAN FrequencyLib / Sad Mac Studies 2LP
Stephan Mathieu's FrequencyLib was originally released in 2001 on Mille Plateaux's Ritornell sub-label. A quintessential document of the late 1990s/early 2000s Pismo PowerBook era of digitally manipulated audio, FrequencyLib is an adept meditation on the entropic possibilities inherent in popular music. Included with this reissue is the complementary Sad Mac Studies EP -- first issued in a run of 100 on Robert Meijer's boutique En/Of label. Exploring similar themes/processes as FrequencyLib, Sad Mac Studies reimagines and deconstructs the sonic world of Sesame Street.
CAT #: WS 008LPSMALL SUR Attic Room LP
Attic Room is Bob Keal's fifth full-length album as Small Sur. In this collection of songs, Keal meditates on the rhythms of domestic life and fatherhood while discovering newfound depths and maturity in his songwriting. Attic Room emerged from hundreds of song fragments that Keal scratched into the margins of life since the release of 2013's Labor. The result is a "bedroom country" record, one that is inescapably intimate while also evoking the wide-open Midwestern landscapes of Keal's childhood. The bulk of Keal's delicate vocals and classical guitar work was recorded in the basement choir room of a chapel on his school's campus, with Matthew O'Connell (Chorusing) engineering and accompanying on grand piano and Telecaster. As a player, engineer, and co-producer, O'Connell helped to craft a cohesive avant-folk album aesthetic, creating tape dub of instrumental tracks and running saxophone takes through a half-broken Echoplex tape delay, all the while creating sounds that Keal would not have encountered otherwise. Small Sur's music has always been spare, intimate, and deeply felt. But with the stripping of the conventional full-band structure, Keal was able to invite in even more community, while still creating a minimalist and personal sound. Attic Room includes Small Sur's Andy Abelow (saxophone) and Will Ryerson (bass), as well as guests like North Carolina fiddler Joseph DeCosimo, pedal steel guitarist Dave Hadley, and singer Cara Beth Satalino of Outer Spaces. Keal trusted Wye Oak and Joyero's Andy Stack, a long-time collaborator, to process his numerous instrumental contributions however he liked.
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 053LPBOCQUET, ROLAND Paradia LP
Limited restock; LP version. Housed in heavy 350gsm sleeve with holographic sticker. WRWTFWW Records announce the official reissue of Roland Bocquet's highly sought-after solo album, Paradia. Originally released in 1977 on the legendary Cobra label, Paradia is the first solo album by Roland Bocquet, keyboard player for cult French band Catharsis. The (mostly) instrumental album is a wonderful oddball adventure blending cozy ambient, euro-folk, synth escapades, Latin fusion with a French touch, gentle bossa, a tiny bit of minimalist chanson, and a heavy dose of je-ne sais-quoi. The result is soothing, mysterious in the sweetest ways, and fully atmospheric: a must have for fans of Pascal Comelade, Mort Garson, Dominique Guiot, ZNR, Vladimir Cosma, movie soundtracks, library music, and unclassifiable gems. It's hard to describe, but it's lovely to experience! Paradia, Paradia, Paradiaaaaaaaa... Sourced from the original masters.new releases are also viewable at https://www.forcedexposure.
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com