New music is due from Shoko Igarashi, Natalie Beridze, and RSN, while old music is due from Muslimgauze and The Rootsman, Jac Berrocal, and Nurse With Wound.
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A RECORDINGS (UK)
CAT #: AUK 003LPBRIAN JONESTOWN MASSACRE, THE Bravery, Repetition And Noise LP
2022 repress; black vinyl. LP version, gatefold sleeve. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.
CAT #: AUK 007LPBRIAN JONESTOWN MASSACRE, THE Thank God for Mental Illness LP
2022 repress; available on 180-gram vinyl (no longer comes with download code). This the first time that this title has been available on vinyl. At the risk of belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music to be released in 1996, The Brian Jonestown Massacre parallels the prolific and effortless brilliance of The Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is The BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp!, the label that gave them their start, and later for TVT and Tee Pee. The BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the band's name combines the name of Stones founder Brian Jones with a reference to cult leader Jim Jones -- but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
AGOGO RECORDS (GERMANY)
CAT #: AR 141LPRSN Motion LP
RSN, producer, DJ and musician from Athens, Greece, delivers his fifth album named Motion and his second LP for Agogo Records. In this nine-track album (two instrumental songs and seven with vocals) RSN shows all of his music influences. From hip-hop to electronica and from blues to trip-hop. Thaliah, MC Yinka, Lefteris Samson, Irene, Quilombo and JB Nimble all feature on the record the cover is designed by Till Noon.
CAT #: AR 153LPAGEMO & AHMED AG KAEDY, ONOM Tartit LP
The second collaboration between the Berlin based groove-outfit Onom Agemo and the Malian guitarist, singer, and songwriter Ahmed Ag Kaedy. After the successful release of their first project, a 7" single titled Onin Okalan in 2017, they are now presenting a full album which they recorded in Berlin and Bamako between 2018 and 2020. The title Tartit roughly translates to unity, as it unifies not only funk psychedelica with desert blues, but also unites musicians whose backgrounds are as different as can be, but whose musical tastes are surprisingly in tune. Music and lyrics written by Ahmed Ag Kaedy, arranged by Onom Agemo and the Disco Jumpers. Credits: Ahmed Ag Kaedy - guitar, vocals, composition; Johannes Schleiermacher - sax, flute, synthesizers; Kalle Zeier - guitar; Jo?rg Hochapfel - organ, synthesizers; Kalle Enkelmann - bass; Mahalmadane Traore - drums (Medin, Tanakra, Kidal); Bernd Oezsevim - drums (At Oui Tass, Alghafiat, Mani Mani). Produced, recorded and mixed by Kalle Enkelmann and Johannes Schleiermacher except "Alghafiat": recorded and mixed by Milan Marti. Mastered by Kelly Hibbert.
ALGA MARGHEN (ITALY)
CAT #: NMN 019CD
FILE UNDER: CLASSICALCORNER, PHILIP On Tape from the Judson Years CD
2022 repress. On tape from the Judson days. Remember? When you made these things at home, on the best equipment you or your other poor friends could find? Electronic music from the 1960s. And you had that Japanese tape recorder with built-in mike; indeed, that was the only piece of furniture on your tatami floor on the Lower East Side that summer of 1961. This compact disc presents tape music recorded between 1962 and 1963 for the friends meeting once a week in a loft in NYC. The first track, "Lucinda Pastime", was the soundtrack for a dance piece by Lucinda Childs: "the tape was made in the kitchen sink, with primitive equipment and all the different kinds of plates and bowls in the house. The enjoyment of listening to this musique liquid at night, in bed, and always finding it too short." "Memories: Performances": "Ah yes... yes! The principle of this tape is the recombining of recorded performances from the past, my past, this time. Because the idea, and practice, of collage was really around in that time." "From Thais", was made on request of Yvorine Rainer, "collaging mostly extracts from Massenet opera, mix after mix to get thrown around fragments of the opening until the thin, otherworldly quality of the ending." "Oracle, a Canata on Images of War", was commissioned by the Living Theatre: "All sounds in violent counterpoint, made by me at home... playing with real noises, with a deliberately pulverized reality made of over-recorded close-miked crashes which even blew the machine's circuitry. Mixed into the 'Darkest White Noise' ever made." "Flares" used dancers and musicians and slides and lights in a total-space multimedia; this is the only piece on this compact disc which uses purely generated tape sounds. "Circus Tape" was for "a whole evening of inspired crazy-fun, from burlesque to creaking doors." All previously unreleased works presented in a digipack CD with 16-page booklet.
CAT #: NMN 166LPANIMA Underground Altena LP
Alga Marghen present Underground Altena, two visionary long-form works by Anima Sound, the radically freedom-pursuing Paul and Limpe Fuchs duo. 1973 represented a peak for Anima sonic explorations into sculptural sound at the crossing of krautrock, free jazz, and experimental music. Limpe Fuchs studied piano, violin, and percussion in Munich, but all changed in the late 1960s when she met sculptor Paul Fuchs and discovered there was much more space to experiment and discover her own way as in the sculptural environment she had the chance to work directly with materials. Paul first built a horn as a sculpture (the famous Fuchshorn) and started experimenting with its sounds. Then he built a pedal kettledrum adding things to it like woodblocks and welded a steel ring to the hi-hat stand that was strung up with several strings which Limpe played with her toes, or using a saw blade and a shovel. Even if in the beginning Paul and Limpe were more interested in experimental film, there were other communities like Amon Düül and Tangerine Dream and Anima started touring with them as well as with Popol Vuh or Xhol and very quickly became well known within this krautrock scene. After they were engaged in the Underground Explosion Tour 1969 and had made the Tractor Tour at 19 km/h between Munich and Rotterdam in 1971, came Friedrich Gulda who joined them in the early '70s. He was very fond of the duo and he especially liked Limpe singing and their way of just improvising. He was a famous arranger, but wanted to play in an improvising group. Later on, Anima was included in the infamous "Nurse With Wound List" and came the connection to Steven Stapleton who included them in the An Afflicted Man Musica Box anthology together with Jac Berrocal, AMM, Operating Theatre. Even if Anima was in fact part of the krautrock scene, they had a very distinct sound which was a result of the confluence of Paul's "visionary" sculptural world and Limpe's aural universe. Playing on self-built instruments also had a major role in building their specific sound which became more and more unique in the early 1970s as the Fuchhorn, the Fuchzither, the Fuchsbass and other sound sculptures were created. Heavily guided by Limpe's unique approach to percussion playing and vocals, with Paul delivering a striking arsenal of tonal interventions on his invented instruments, "Underground" and "Altena" plays like the outer reaches of free jazz dropped in an alien landscape. Howling and clattering, entirely free and spontaneous, while never losing the sense of deep consciousness, purpose and control.
ANTARCTICA STARTS HERE
CAT #: ASH 102LPLIND, BOB Since There Were Circles LP
"Singer-songwriter Bob Lind will forever be remembered for the 1965 hit 'Elusive Butterfly,' but his career is so much more interesting than the fading wonder of that one song. Once a hard-partying buddy of Charles Bukowski, Lind was the inspiration for the character 'Dinky Summers,' a down-on-his-luck folk singer in Bukowski's 1978 novel Women. Lind also doubled as a writer, penning a number of novels and plays as well as serving as a long-time staff writer at the lowbrow tabloid Weekly World News. If that wasn't enough, Lind is also responsible for one of the greatest major-label 'loner' albums of all time, 1971's Since There Were Circles. After several years languishing without a second hit for the World Pacific label, Lind signed to Capitol and went into the studio with some of the biggest names in the LA country-rock scene including Doug Dillard, Gene Clark, Bernie Leadon and legendary session bassist Carol Kaye. While the record was well-received critically, it sold poorly and marked Lind's bitter departure from the music business for several decades. The intervening half-century has been incredibly kind to Since There Were Circles, and it is now regarded as a cult masterpiece that pairs perfectly with Gene Clark's No Other, Bobby Charles' self-titled Bearsville album and Lee Hazlewood's Cowboy in Sweden. Lind's songwriting here is vastly darker and more self-reflective than anything from his folk-pop period, and the production is simultaneously loose and rootsy, yet lushly orchestrated and occasionally bombastic. Lind somehow manages to bring it all together with wry delivery and literate detail."
CAT #: BALMAT 003LPWOLF, PATRICIA See-Through LP
Following her debut album, I'll Look for You in Others (Past Inside the Present, 2022), Patricia Wolf joins Spain's Balmat label with See-Through, her second album. See-Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I'll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth. She wrote and recorded many of the album's songs quickly, in preparation for an August 2021 broadcast on the online radio platform 9128 Live. Excited for the opportunity to play live after more than a year of the pandemic, Wolf decided to write all new material for the event, working with a lean setup of Octatrack, Roland Synth Plus 10, Make Noise 0-Coast, and Novation Summit. (In fact, Wolf was the first sound designer invited to create patches for the Summit.) She also picked up an acoustic guitar that her brother had loaned her. "Woodland Encounter", "Under a Glass Bell", "The Grotto", "The Mechanical Age", "The Flaneur", and "Psychic Sweeping" are all products of those sessions; the through line holding them together is their exploratory spirit and clarity of vision. Other songs, like "A Conversation With My Innocence", "Recalibration", and "Psychic Sweeping", wrestle with the traumas of the preceding year. Though they may linger on the heaviness of loss, Wolf says, "What I discovered is that a stronger archetype had grown inside me to steer my emotions and thoughts to a better place." Likewise, "Wistfulness" and "Upward Swimming Fish" -- her first experiments with VST synthesizers -- balance the bittersweet embrace of melancholy with the freedom to choose happiness. "Pacific Coast Highway", the album's lone song with drums, might at first seem like an outlier. But it also signals Wolf's interest in finding a fusion between the introspection of ambient and the togetherness of beat-oriented music. Listeners with keen ears might recognize the album's closing song, "Springtime in Croatia": A different mix of the song originally appeared on the 2021 digital compilation secondnature & friends Vol. II, from the Seattle label secondnature. This marks its first appearance on vinyl, however, and its spiritual home is undoubtedly here, at the close of See-Through.
BATOV RECORDS (UK)
CAT #: BTR 062LPWAX MACHINE Hermit's Groove LP
Surfing on a sun-drenched wave of psychedelia comes Brighton's very own Merry Pranksters, Wax Machine. Primarily recorded and mixed in a closet room directly above a mortuary, their self-produced album Hermit's Groove is a heady trip through progressive psychedelia, kitsch Italian library music, and Brazilian Tropicalia. Wax Machine is the project of Brazilian-born, Italian/English-raised Lau Ro, who takes a deep dive into their Brazilian heritage on this LP, taking inspiration from '60s Tropicalia music and movement and the likes of Os Mutantes, Caetano Veloso, and Gal Costa. "Brazil is where I was born and grew up until I was 8 years old, and it'swhere my family is from. We then immigrated to Europe and I was never able to visit Brazil after that as it's a very expensive flight. Instead I'veopted for the next best thing which is connecting with the spirit and culture of Brazil via the medium of music." The album features a version of "Canto De Lemanja" from Vinicius DeMoraes and Baden Powell's seminal 1966 Brazilian album Os Afrosambas. "Canto De Lemanja" is about the Goddess of the sea, Lemanja, a chant Lau has often found themselves singing to the sea in their hometown of Brighton. The first single and album opener, "Guardians of Eden", is carried in on a cloud of flutes and birdsong. The first half celebrates the light and beauty of this world, while the second half is a reflection on the shadow of our existence here. The three-minute, psychedelic explosion of "Springtime" is a "meditation on the cycles of nature, the dance of duality, the swinging of the cosmic pendulum." Two EPs in 2018 preceded their debut album Earthsong of Silence in2020, with Clash Magazine declaring that Wax Machine "occupy a space somewhere in the gaps where English psych-folk, sun drenched West Coast sounds, Brazilian Tropicália and spiritual jazz overlap." That year they also had a track featured on the Mr. Bongo Record Club compilation. For fans of: Babe Rainbow, Kikagaku Moyo, Vanishing Twin.
CAT #: BNSD 065LPSINGH WITH MARTIN STURM, RISHIN mewls infans LP
In the 1850s the influential composer Franz Liszt, who was living in Weimar, Germany at the time, carried out, with the famous cantor Alexander Wilhelm Gottschalg, a series of "ländlichen Orgelexperimente" (rural organ experiments) in Thuringia -- investigating various instruments and their capabilities for contemporary music. They eventually settled on the organ in Denstedt because of its high quality. Many years later, award-winning organist Martin Sturm would invite the Berlin-based composer Rishin Singh to repeat these "ländlichen Orgelexperimente" with him and they again chose the organ at Denstedt, now named in honor of Liszt, as the best instrument -- the most flexible and expressive -- to perform and record Singh's music for organ. mewl infans is a contemporary classical piece that invites modern listeners to ponder the enduring pull of an instrument that was first conceived more than 2,000 years ago and has, in recent years, been rediscovered by a new generation of composers and listeners. Throughout the larger architecture of the four movements, melodic motifs return over and over, fractured by noise, fragmented by carefully calibrated alternate tunings, dissolving into thin air, and generating drones which then transform into new melodic variations. Over the 44 minutes of the piece the organist at times attempts to exert complete control over the instrument, and at other times relinquishes all control entirely. Conceptually rigorous and emotionally charged, mewl infans rewards deep listening and patience. At times conjuring a sense of doom, at other times suspense, pastoral drift, or aquatic submersion, the album is a universe of tiny details comprised of noise and air, of the journey each tone takes from birth to expiration. Singh has been commissioned by the GRAMMY-nominated JACK Quartet. RIYL: Anna von Hausswolff, Olivier Messiaen, Max Reger, Kali Malone, Ellen Arkbro, Kevin Drumm, Maria Horn."An endless and captivating exploration of one organ's timbres and tones. Both whispered and shouted, large and small, close and far, Singh's work is both unsettling and a balm, and has invited me to reconsider pitch, consonance, dissonance, tension and release." --Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME)
BEAR FAMILY RECORDS (GERMANY)
CAT #: BCD 17551CDDIDDLEY, BO Rocks CD
"28 original Bo Diddley Checker recordings from Chicago. One of the most important discs in Bear Family Records Rocks series. Including three Top 5 R&B hits: 'Bo Diddley' from 1955, 'Pretty Thing' from 1956, and 'Say Man' from 1959. Also including highly influential tracks such as 'I'm A Man' and 'Diddley Daddy' from 1955, 'Road Runner' from 1960, and 'You Can't Judge A Book By The Cover' from 1962. Recordings feature several important and original musicians, including: Jerome Green on maracas, Clifton James on drums, Jody Williams on guitar, and Peggy Jones (Lady Bo) on guitar, along with renowned blues players Otis Spann, Lafayette Leake, Frank Kirkland, and Willie Dixon. Formidable and informative biographical notes by Bill Dahl. Full discography information for each track. Incredible photo gallery including previously unseen shots. Reissue coordinated and compiled by Martin Hawkins. You can't judge a book by the cover, according to the song by Bo Diddley -- but you sure can tell a record made by Bo Diddley. For that reason, this is one of the most important discs in our Rocks series. Here is a full CD of truly original, groundbreaking rock and roll, presented as only Bo Diddley could, and as only Bear Family Records can. Bo Diddley's music had a unique beat, an individuality, an 'attitude,' and it formed part of the basic fabric of rock and roll during its heyday in the mid-1950s to the early '60s. There was normally a Bo Diddley disc on the American R&B charts in those years (11 in all) and five of them made the pop charts, too. The immediately recognizable 'Bo Diddley Beat' was copied by some, but never as well, while many others weaved elements of his style into the rock music mainstream. From Buddy Holly's 'Not Fade Away', Dee Clark's 'Hey Little Girl', and Johnny Otis' 'Willie And The Hand Jive' through Freddy Cannon's 'Buzz Buzz A-Diddle-It', Mac 'Dr. John' Rebennack's 'Storm Warning', to 'Magic Bus' by The Who, Diddley's sound has become universal."
BEAT RECORDS (ITALY)
CAT #: DDJ 010DLX-LP
FILE UNDER: SOUNDTRACKMICALIZZI, FRANCO Lo Chiamavano Trinita LP
LP version. 180 gram color vinyl. A catalog such as Beat Records, with its roots in the '60s may have a difficult logistic. Beat Records changed many times head quarter up to moving to Via Filippo Nicolai 16 from the late '80s up to nowadays. Such a company catalog, sensibly grown during 55 years of life, was always needing more space and so, recently, the label decided to find a new place where to agglomerate various storages spread through Rome. What does all the above things have to do with They Call Him Trinity? A lot, while archiving some tapes in order to prepare our forthcoming transfer, the label found them. Six 24-track master tapes belonging to the original recording session. Priceless material stored in crates in a corner, still there to be archived since a preceding moving. A brief e-mail exchange with our co-publishers of Carosello, a meeting in Milan with Adriana Branchini and Dario Giovannini, to get their support and they proceeded with this recovery project. The first release of this score is dated January 1971, this 2021 December the 50th year will expire. With all due precautions Beat Records transferred the tapes and organized a remastering session in Trafalgar studios, Enrico De Gemini experience, responsible of West catalog, guided the recovery and restoration. Surprises weren't late, the recording was perfect, the crisp sound could be remastered in a brilliant stereo. One of the most beloved Western soundtracks of all time is going to live a second youth with a great dynamic, not saturated, the various ingredients and still tasting the mixed amazing resulting effect. And there is a lot of unreleased material, an amazing deguello version featuring a trumpet instead of the flugelhorn, a beautiful alternate version of "Di Fronte Ai Killers", of "Un Cowboy e Due Ragazze", and a lot of unreleased takes of "Trinity's Valley" in which Franco De Gemini harmonica is prominent. Mastering by Enrico De Gemini; graphic layout by Daniele De Gemini.
CAT #: BE 007LPMIKAMI, KAN I'm the Only One Around LP
2022 restock; Black Editions present the first ever vinyl edition of Kan Mikami's I'm the Only One Around. For 50 years, Kan Mikami has stood as a master of the Japanese blues and outsider folk. His unmistakable, powerfully evocative voice and surrealistic poetry reveal a gritty, transgressive life on the margins shot through with evocations of sex and violence, religion and romance. Released in 1991, I'm the Only One Around was Mikami's first album with Tokyo's legendary P.S.F. label and heralded an artistic renaissance. It marked the beginning of an incredibly productive and wildly creative era for Mikami that extends to the present day. This opening salvo presents the essential core of Mikami's music; with nothing but his voice and a stripped-down electric guitar the album is a powerful, effortlessly emotional statement filled with moments of both brutal passion and gentle revelation. It is unrestrained, direct, brutally honest. It embodies Mikami's philosophy: "If you're going to make music, stake your life on it -- it's worth it. Making music is an intensely human act." In the newly translated notes to the album, Hiroyuki Itsuki, one of Japan's most renowned writers perhaps put it best: "What erupts here is all the fury and grief of J?mon Man (the prehistoric people of the Japanese archipelago), lobbed into the middle of a 1990s city. Kan Mikami is unchanging, yet definitely in motion. He advances not forwards, but backwards. Not a retreat, rather he consciously progresses backwards. At the final destination for his full-steam astern poésie lies a massive, gaping black hole, exuding a dazzling, black light. This is the image evoked by the world of Kan Mikami that you can hear on this album." Mikami would go on to release 15 solo albums with P.S.F. as well as numerous collaborative efforts with other giants of the Japanese underground including Motoharu Yoshizawa, Masayoshi Urabe, and Keiji Haino, with whom, along with Toshiaki Ishizuka he formed the group Vajra. Features lyrics translated by Drew Stroud and newly translated notes by Alan Cummings. Remastered and cut to vinyl at Elysian Masters Los Angeles, pressed by RTI, packaged in heavy Stoughton tip-on jackets with insert featuring textured paper, gold foil stamping and metallic inks.
BLACK SWEAT RECORDS (ITALY)
CAT #: BS 066LPVAN DER GELD, TOM Small Mountain: Music for four Marimbas LP
Black Sweat present a reissue of Tom Van Der Geld's Small Mountain, originally released in 1986. In 1986, the vibraphonist Tom Van Der Geld composed his personal ode to creation, a tonal poem for all natural beings called Small Mountain. It reveals a pure minimalist inspiration, a vibrant style of sound variations that is decidedly more Zen-impressionistic than the mathematical-metaphysical works of Steve Reich. This music, for four marimbas and other percussion instruments, suggests an emotional osmosis with all the elements, a flow of ecstatic progressions that is more immanence than transcendence. It's the rain that falls softly on fragrant moss or the fog that hides the frost on the grass; an exotic spectrum of multi-form colors, dances of leaves, branches, sticks, fronds, lianas, swirls of petals and bark. Ode to the wind, to the rainforest, a psalm to the waters energy that opens the portals of the temples of nature. As in the Aboriginal songlines, every place or being on planet Earth becomes, through music, space for the sacred.
CAT #: BS 070LPDAGAR, MOHI BAHAUDDIN Ahir Bhairav 2LP
Mohi Bahauddin Dagar is the heir to one of the most important families of musicians in the Indian Hindustani tradition: Dagar family. During the 20th century, his father, the famous Ustad Zia Mohiuddin Dagar, was mainly responsible for the revival of the Rudra Veena as a solo concert instrument. The stylistic evolution of the Rudra also involved a substantial modification of its parts by Zia Mohiuddin. In fact, the tumbas (gourds) and dhandhi (hollow neck) were enlarged to create greater resonance and closeness to the techniques used in Dhrupad singing. Ahir Bhairva consists of a mix of two morning Raga in its classical progression of alap, jor, jhala, and chowtal phases, in a sound framework embellished by tanpura and pakhawaj. Bahauddin remains faithful to the stylistic features of Dagarbani thought, a slow meditative development that explores all the possible ranges of his instrument, with ascending and descending microtonal movements that reactivate body and mind in the first light of day. Originally released digitally by Country & Eastern in 2019.
CAT #: 9781953691019
FILE UNDER: MiscLICHT, ALAN Common Tones: Selected Interviews with Artists and Musicians 1995-2020 Book
"Conversations with the avant-garde's leading lights--from Suicide to Anohni -- by experimental music's go-to interviewer, guitarist and sound artist Alan Licht. For the past 30 years, Alan Licht has been a performer, programmer and chronicler of New York's art and music scenes. His dry wit, deep erudition and unique perspective -- informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock -- have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public exchanges and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate's Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer and Yo La Tengo's Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders.
CAT #: BSNI 003LPVA Bloodstains Across Northern Ireland: 18 Essential Punk Rock Blasts LP
If you thought all those volumes of DIY sounded too well-landscaped, then let's turn over the punk rock roundabout 1979 and see what crawled around where the sun hardly shone. Often these Bloodstains Across... (pick any country from the Western hemisphere) are dedicated to your more scabby, shouty punk rock but since Ireland took to the more pop/glam side of things, you're gonna hear a whole lot more hooks per RPM here more than elsewhere in the series. So, while some raw-as-shit punk can also be found herein, pop runs amok with The Moondogs, Midnite Cruisers, Protex, The Xdreamysts, and Rudi. Also features Ruefrex, Electro-Motive Force, Ex-Producers, The Androids, Victim, The Detonators, Pretty Boy Floyd And The Gems, The Doubt, and The Defects.
BORN BAD RECORDS (FRANCE)
CAT #: BORNBAD 064LPBEBEY, FRANCIS Psychedelic Sanza 1982-1984 2LP
2022 repress. Double LP version with printed inner sleeve. Born Bad Records presents the music of Cameroonian musician Francis Bebey, circa 1982-1984. "The first time I saw a sanza (a type of African 'thumb piano'), it was just sitting there on a piece of furniture in my family's living room/dining room -- a space that our father also transformed into a recording studio every day. It seemed more like a box than a musical instrument: a mysterious instrument, which arrived at our house, like many things, in a somewhat miraculous way. The sounds it produced seemed particularly bizarre; to my young musician's ears, trained in Western classical music, it sounded out of tune. That's because, like my brothers and sisters, I had been trained on the piano. I had trouble understanding how anyone could endure these tones and, honestly, our father's passion for 'unusual sounds' did not interest me. I was in secondary school at the time (the very late 1970s) and was not at all oriented toward musical projects. I planned to graduate, and then become a chef. In the early 1980s, my interest in music picked up. I was still undecided about my career. I was content to pursue my 'serious' English studies while hanging out at jazz clubs at les Halles in Paris, where I sometimes joined jam sessions. Next, I put together my first band with professional musicians; I had hidden my age and lack of experience from them. France was just beginning to accept 'world music.' Musicians of every nationality were performing in Paris. It was a wonderful period. My father asked my brother Toups and me to accompany him for a few concerts. In particular, we toured Tunisia together at the time of the 1983 Carthage International Festival. Back then, my father was renowned across the French-speaking world. Everyone looked forward to hearing his humorous songs, like 'Agatha' and 'La condition masculine.' But, behind the scenes, he continued his research concerning electronic music, the sansa, pygmy polyphony, etc. One day he put a sansa in my hands, without saying a word. He was sending me a message: 'Let's see what you can do with it!' That's when I really discovered something. Exploring the instrument and playing, I transcended the 'imperfect' aspect of its sound and began to discover its fascinating potential. Playing the sansa, you enter a world that enraptures you in a very serene and mesmerizing way. I think its sounds evoke a rainbow, with rain falling while the sun shines. A very peaceful feeling. It allows you to make music that truly sounds like life. The sansa is also the instrument that my father and I shared the most because I am a pianist and he was a guitarist. I also share this eminently African instrument with my musician brother, Toups. Our father loved to tell us one of the legends of the sansa: how it even managed to dispel the boredom felt by... the Creator himself! This instrument gives life to the world, to beings and things. I did not participate in the production of the various records that my father devoted to the sansa. He did it himself, you might say, in his 'laboratory.' Yet today, I cannot imagine playing a concert without using a sansa. The piano remains present so that listeners don't become disoriented and wonder about the weird sounds invading their ears! However, I find the eccentric and disturbing side of sansa interesting. And the sansa always affects the audience: in reality, it excites them. The secrets of this instrument are surely its beneficial powers and... its magic!" --Patrick Bebey
BUH RECORDS (PERU)
CAT #: BR 118LP7697 MILES Iskay LP
The name of the project, 7697 Miles by Dieter Mauson and Cristóbal Rawlins, alludes to the distance that separates both geographical places. Mauson started in the '80s with various industrial and minimal synth projects. He currently performs as a solo artist under the name of Occupied Head. For his part, Rawlins, under the alias of Raw C, has become one of the fundamental names in the most innovative techno scene in Chile. Iskay (which in Quechua means "two") was recorded during a tour that the duo made in Peru, inspired by the Andean culture and its ancient traditions. The pieces that make up Iskay were composed using a wide variety of synthesizers and follow the lessons left by German electronic music from groups such as Kraftwerk and the Berlin School. But they are also open to ambient experimentations and echoes of techno culture, resulting in pieces that cover a whole tradition of electronic music, in a true hypnotic excursion for those who enjoy electronic sounds as a journey to new territories of sound and psyche. Iskay is the debut of 7697 Miles on Buh Records. The cover art was designed by Peruvian artist Paloma Pizarro (Infra_Intl). Edition of 300.
CHERRY RED (UK)
CAT #: CDMRED 374CDSHOP ASSISTANTS Shop Assistants CD
"The Shop Assistants were one of the defining bands of the '80s independent boom. Formed in Edinburgh in 1984, originally as Buba & The Shop Assistants, they released the Peel-approved indie staple Something To Do , which featured Stephen Pastel on backing vocals. With line-up changes and an abbreviated name, they released the Shopping Parade EP a year later, which saw Morrissey describe 'All Day Long' (included on this collection) as his favorite track of the year. The band's David Keegan (who would subsequently join the Pastels) then formed 53rd & 3rd Records, which housed the band's 'Safety Net,' one of two songs, along with 'I Don't Want To Be Friends With You' (again, included here) to be voted part of John Peel's Festive Fifty of 1986. They also featured on that year's celebrated, infamous, nay, iconic C86 NME compilation. This re-release incorporates the material they released after signing to Chrysalis' Blue Guitar subsidiary. The Shop Assistants, aka Will Anything Happen, is their sole album release, and is accompanied here by two bonus tracks; 'Looking Back' and the slow version of 'All Day Long.' Although reissued in 2001, it has long been out-of-print, fetching scary prices on a well known auction site in acknowledgement of its status as one of the indispensable articles of the C86/shambling/independent scene."
CINEDELIC RECORDS (ITALY)
CAT #: CNLP 064LPTOGASHI QUARTET, MASAHIKO Speed & Space: The Concept of Space in Music LP
Reissue, originally released in 1969. Recorded in November 1969 at Teichiku Kaikan Studio, Tokyo, Speed & Space: The Concept of Space in Music is one of those landmark works in which Masahiko Togashi is accompanied by talented musicians who possess a unique style and innovative approach. The album is an exploration of Togashi's notion of the "Time Law" and can be seen as a study of how texture, rhythm, and differing rates of change effect our perception of the passage of time in music. Sounding quite obscure and contemplative, the brief introductory theme signed as "Presage" prepares the listener for powerful and scathing free jazz. In a pace of increasing intensity, "Panorama" remits you to the liberating ways of an absorbing percussion where the more muscular interventions are interspersed with moments of enormous sensitivity. Grounded by Togashi's varied percussion, the disconcerting piano of Masahiko Sato and the vigorous bass of Yoshio Ikeda mark the guidelines of this long abstract exercise. An energetic improvisation, this theme of nearly 15 minutes flows into a grand finale with the involvement of all the musicians. "Expectation" closes the A side in a short but intense reverie of percussion, bass, and flute, guided by an improvisation free of harmonic prejudices. At the piano (and gong), Masahiko Sato assumes a mediation function, granting some harmony traits to the, almost always, abstract and corrosive concepts of this collective. Bassist Yoshio Ikeda (recorded with trumpeter Terumasa Hino and pianist Aki Takase) imprints a decisive mark to the robust rhythm-section as to the overall sound of this date. Mototeru Takagi helps impart a tonal diversity and a colorful exoticism through his forays into the tenor saxophone, bass clarinet, and flute. Of sharp forms dominated by technique and irreverence, side B continues with the title track, divided in two distinct but equally penetrating parts. With a depth marked by Togashi's percussion, "Speed & Space # 1" unfolds on a fast tune over 11 minutes of a harsh and incisive improvisation. The interaction of an irreverent rhythm section finds its complement in the disturbing screams of a delirious saxophone. Shorter, the second part gives voice to a minimalist concept in which the central role of Togashi finds an interesting matching in Masahiko Sato's piano as well in the saxophone and flute of Mototeru Takagi. Fully licensed and remastered from the original tapes. Includes OBI and insert.
CAT #: CNLP 065LPTAKAYANAGI AND NEW DIRECTIONS, MASAYUKI Independence: Tread On Sure Ground LP
Cinedelic Records present a reissue of Masayuki Takayanagi and New Directions' Independence: Tread On Sure Ground, originally released in 1970. Considered the "Lochness monster" of Japanese free jazz records due to its incredible rarity, this album was the debut recording of Takayanagi Masayuki as leader with The New Directions. Recorded at the Teichiku Kaikan studios on September 18, 1969 (released in 1970), Independence: Tread On Sure Ground is largely regarded as the first true classic of Japanese free jazz. The group thrashes out an entirely new Japanese methodology for improvisation based on Takayanagi's theories about progressive art. As Alan Cummings explains in his texts to review issues, the group's sonic outburst is pregnant with an urgent intensity similar to a violent rotating windstorm. Personnel: Masayuki Takayanagi - guitar; Motoharu Yoshizawa - bass, cello, percussion, reeds (folk pipe); Yoshisaburo Toyozumi - drums, percussion. Fully licensed and remastered from the original tapes. Includes OBI and insert."An electric guitar string is pinged with a sour and markedly unlovely resonance. It is left to fade away naturally, its dying whisper replaced with a wavering feedback tone that grows steadily in volume and thickness. Against the slow feedback wave, a sudden loud percussive crash, urgent staccato rolls across the toms, and the dry rasp of a rattle. A choppy, non-sequential series of chords from the guitar, still mouth-puckeringly bitter is set against the warmer resonance of an alternately bowed and plucked double bass. Each instrument sounds self-contained, like lunar bodies spinning on their own axes at different tempos, but locked together by unfathomably complex rules of motion. Additional percussive rattles and scrapes have been overdubbed to fill in the blank space. Tendrils of feedback snake in and out, like cosmic dust from some cataclysmic celestial event. The playing is exploratory and deliberate, technically adept and keenly judged, easily sustaining interest and motion across the track's eleven minutes. Its sense of focused concentration is more akin to the European free improvisation of AMM or The Spontaneous Music Ensemble than the violent ecstasies of American fire music." -- Alan Cummings
COLD SPRING RECORDS (UK)
CAT #: CSR 305CDSONOLOGYST Interdimensional CD
The new Sonologyst album, Interdimensional, explores the paraphysical dimension of cosmic music. It completes the dilation process of his sound, which began with the albums Silencers (CSR 253CD, 2018) and Ancient Death Cults And Beliefs (CSR 270CD, 2020), forming an ideal trilogy inspired by what is beyond the boundaries of science. Interdimensional is inspired by the scientist Michio Kaku who theorized what could be the remote future of the human species, beyond matter, the stars, and known dimensions. A future that could lead you to the victory over the end of everything, beyond the foreseen and inevitable death of the universe known to us. Also, a cosmic record in terms of sound, Interdimensional is pervaded by a sense of stasis reminiscent of Thomas Köner's isolationist electronics, but still characterized by the use of electrified instruments, analog synthesizers, and recordings of resonant metal objects. Unlike the previous records, however, the typical dark experimental/post-industrial sound of Sonologyst is filtered through hazy warping reverberations, and infinite delays, which musically depict the intergalactic journey of a civilization in search of a possible future beyond death.
CAT #: CSR 312CDTENHORNEDBEAST The Lamp Of No Light (Hymns For The Yorkshire Doom Stone) CD
For his first release since 2017's Death Has No Companion (CSR 227CD), Christopher Walton (ex-Endvra), a thirty-year veteran of industrial music, has dragged TenHornedBeast back to its pounding doom-ambient roots and recorded his darkest album yet, as a sonic veneration of a medieval sculpture depicting the torment of the damned in hell. In the crypt of York Minster, built directly on the site of the Roman citadel, is the Doom Stone. A relic from the 12th century the stone, carved in deep relief, illustrated for a medieval audience the horrors that awaited sinners in hell. Figures depicting luxury and avarice are licked by flames, leering demons hold a tortured soul in a furnace and the mouths of hell gape, their nostrils licked by toads. Here beneath one of the jewels of western Christendom is a talisman so shocking, so contrary to the modern mind that the very faith that created it has abandoned it. The five suitably monolithic pieces on The Lamp Of No Light (Hymns For The Yorkshire Doom Stone) form a journey, starting with the first mortal death and ending with the second eternal death of the soul. Walton has used the darkest textures and heaviest drones as way-markers on this journey, as hymns to exalt the scenes shown on the stone. "TenHornedBeast is a vehicle for the sinister current that is woven through life. If Christ is the Light of the World and hymns are sung to him in the Minster then my hymns should be heard in the crypt, where the Doom Stone radiates its No-Light. Without darkness, the light is meaningless." Six-panel digipak with photography by the artist.
CAT #: CSR 314CDMERZBOW Animal Liberation - Until Every Cage Is Empty CD
Cold Spring Records presents the new studio album from Merzbow. As a life-long campaigner of animal rights, Masami Akita has delivered a brutal assault on those that cage and murder animals. Animal Liberation - Until Every Cage Is Empty is five tracks (49 minutes) of total noise assault that only the King of Japanese Noise can provide. "There is a theory that Covid-19 broke out from the poor conditioned wet markets where live animals are sold. If there were no poultry farms, there would be no mass destruction of chickens due to the spread of bird flu. Human beings' cruelty to animals, animal abuse and species discrimination are all adding up to a disaster for mankind and the whole planet. The pandemic is an opportunity to reflect on the relationship between animals and humans. Veganism is the future for humanity" --Masami Akita, 2021. The artwork is a reflection of the animal rights and anarcho-punk movements of the '80s. Proceeds from this release will benefit animal rights charities. Presented in a matt-laminate digipak.
CUGATE CLASSICS (GERMANY)
CAT #: CGC 051LPPART, ARVO Works For Choir LP
2022 restock; LP version. 180 gram vinyl; includes download. Cugate Classics presents a reissue of the 2001 release Works For Choir by Arvo Pärt, one of the most important and influential composers of our time. Arvo Pärt (born 1935 in Paide, Estonia) doesn't need to be introduced to anyone who has the slightest interest in classical music, and his audience reaches far beyond the regular attendants of symphony halls. After first serial compositions, "Credo" (1968) was a turning point in Pärt's life and work, being the first piece carrying a religious title and expressing a creative crisis that Pärt answered by lesser compositions and studying medieval and Renaissance music in search for a new musical language. In 1976, Pärt returned with "Für Alina" and introduced his new (and self-developed) style that should become his trademark sound which made him the famous and honored composer he is now: the so-called tintinnabuli. In 1984, after the Estonian composer and his family emigrated from the USSR and settled in Germany, the album Tabula Rasa opened the next important chapter in PÄRT's career: the ever continuing close relation to Manfred Eicher and his ECM label where many of the composer's works have been released since. Works For Choir presents several compositions for choir from the period from 1989 to 1991, recorded in Vilnius with the award winning Vilnius Municipal Choir Jauna Muzika under the artistic direction of Vaclovas Augustinas. The Vilnius Municipal Choir Jauna Muzika choir was founded in 1989 by the conductor and composer Remigijus Merkelys and long-time director Algimantas Gurevi?ius and has since won several prizes, among others six Grand Prix in 16 international choral competitions around the world, and in 1993 it was awarded with the highest prize, the Grand Prix Europeo, in a competition organized by the International Federation of Choral Music. Remastered by Helmut Erler at Dubplates & Mastering, Berlin.
CAT #: CREP 091LPKANTARCIOGLU, KORAY Loopworks 2 LP+CD
Discrepant presents Istanbul based audio/visual artist Koray Kantarc?o?lu's follow-up to his debut album Loopworks (CREP 059LP, 2018). Whilst the first volume used '60s and '70s Turkish records as source material, Loopworks 2 expands the sampling pool to local records as well as snippets from '70s TV and '80s new age and jazz tapes. This disparate material is mangled and glued together with Koray's very personal sampling techniques. This result becomes a dreamy, haunted and enigmatic collection of floating vignettes. Koray also enlists the help of local musicians such as Ekin Fil, who contributed to the album with haunting vocals and sound textures as well as Berke Can Özcan who adds drums and percussion into the haunted mix. The LP comes with a bonus CD entitled Loopworks 2 Extras, that could be another album itself, created from extra material that couldn't make it to the LP. Composed in 2020 and 2021.
CAT #: CREP 092LPBASTIEN, PIERRE Sonic Folkways LP
By now counting more than four decades of constant activity, Pierre Bastien erected such a towering and influential body of work that any blurb attempt regarding his music could easily fall into redundancy. Not that his revolving soundworld, deeply personal and unique, has ever stalled into gimmick or self-mimicry, being Bastien the tireless explorer whose vision can never be complete, only continuously redefined in a process of discovery equally playful and challenging. So, completely in touch with Discrepant's ethos. Returning to the label after 2017 The Mecanocentric Worlds of Pierre Bastien, the French musician, composer, and instrument builder, brings an array of instruments from different cartographies and legacies with the appropriately titled Sonic Folkways. Resorting to different types of horns, prepared trumpet, an army of percussion, from gongs and tambourine to castanets and maracas, violin and too many others to mention here, Bastien weaves together a highly textured and hypnotic mosaic that projects an exotica beamed from scraps of the future. "Aha!" in the same interstellar wavelength as Sun Ra's cosmic tones, "Moor's Room" almost orchestral tapestry of small percussion and insects or the non-western strings and tunings salvaged from ancient alien ceremonies on "Pan's Nap". In an era where so much ink has been shed about world building in experimental music, Bastien can actually claim that to himself. The otherworld is right here, indeed. Artwork collage by Evan Crankshaw. Mastered by Anne Taegert at Dubplates & Mastering.
CAT #: DIST 101CDBRADSHAW-LEATHER, DON Distance Between Us 2CD
Reissue of the cult 1972 album. During the long, dark hangover of the "Summer of Love", the classically-trained Essex prodigy approached CBS Records with demo recordings. A forward-thinking A&R executive must have seen a potential revenue stream in Don Bradshaw-Leather's avant-classical noise. The artist was given an advance to record an album. He used the funds to create a large studio in Sussex with many instruments including an actual church organ. Here, on his own, without the use of any electronic sequencing, he recorded Distance Between Us using multitrack tape, layering each part of the composition. Upon hearing the product of their financial investment -- four side-long tracks of blurry organ drones, frantic piano tinkling, and ritualistic percussion -- CBS got cold feet. The album was self-released on Bradshaw-Leather's own Distance imprint; a vanity label established for the sole purpose of releasing the album. The sleeve art is full of mysteries, from the misspelling of "Bradshaw" ("Bradsham"), to the coal-blackened visage of the bohemian madman on the cover (DBL himself?), to the rear photo collage depicting the same madman accosting a nude woman. The music isn't any less mysterious; shapeless symphonies of smeared-out Mellotron, tribal drums, and wordless vocals. Don Bradshaw-Leather passed away in the '90s. Presented in a matt-laminate gatefold digisleeve.
EARLY FUTURE RECORDS/FINDERS KEEPERS RECORDS (UK)
CAT #: EFR 003LPNEW LIFE TRIO Visions Of The Third Eye LP
The late great drummer Steve Reid reissued eclectic recordings on his own Mustevic Sound label which gave his career a second wind. Though teased on a well-received compilation, one Mustevic release never saw reissue: New Life Trio's Visions Of The Third Eye, a tremendous collaborative effort between Reid, guitarist Brandon Ross and bassist David Wertman. Early Future Records is proud to announce the reissue of the classic, final Mustevic recording for the first time as a limited-edition vinyl release. The release also includes a 20-page written zine featuring an in-depth testimonial and interview with Brandon Ross, and an explorative essay by Finders Keepers' Andy Votel, as well as a wealth of archival photos, scores, and reviews. Reid's long and varied career began in his native New York City, where he was involved early on as a member of the Apollo Theater House Band and the R&B scene of the 1960s, including recordings with Martha Reeves and James Brown. In the late 1960s, Reid spent three years in West Africa absorbing musical traditions and experimenting with artists such as Fela Kuti, Guy Warren, and Randy Weston. After a stint in prison for dodging the draft as a conscientious objector, the drummer came out swinging in the 1970s. He worked regularly as a session and Broadway musician even while immersing himself into the jazz world. The do-it-yourself ethos of the New York Loft Scene inspired Reid to create his own label, Mustevic Sound. A friend involved with the label was David Wertman, a young bassist from New York who released his own Kara Suite on Mustevic in 1976. New Life Trio's story began when Wertman moved from New York to the more sedate but creatively vibrant town of Northampton, Massachusetts. Here, Wertman met Brandon Ross, a young guitarist from New Jersey who had relocated there with his brother to join a coterie of New York expats who had found a comfortable, collaborative environment amidst the liberal college towns in the area, including avant-garde legends Archie Shepp and Marion Brown. Wertman and Ross became friends and began to perform together regularly, both formally and informally. A string trio of Wertman, Ross and violinist Terry Jenoure was set to record, but Jenoure dropped out just prior to the date. This led Wertman to call his friend Steve Reid to come join the two at the Tin Pan Hollow Studios in Vermont to record what would become Visions Of The Third Eye on December 6, 1978. Originally conceived as an all-acoustic date, the recording would morph slightly when Ross added electric guitar muscle on a number of pieces. Reid would then take the helm and release the recording in 1980, giving a very auspicious birth to what has now become a classic spiritual jazz recording. Fast forward to 1995... New Life Trio gets a belated second wind from Stuart Baker's inclusion of the Ross-voiced "Empty Streets" on his Universal Sounds of America compilation. Visions Of The Third Eye became a kind of "holy grail" record for collectors of jazz and creative music. The album's cover image was even incorporated into the cover of Freedom, Rhythm & Sound (2009), a wonderful coffee table book presenting album covers from those revolutionary decades in Black creative music.
FAITH AND INDUSTRY (UK)
CAT #: FAI 022X-LPMERMAID CHUNKY Vest (Transparent Green Vinyl) LP
Transparent green vinyl. Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boasts of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles, and Yama Warashi. Their debut Faith and Industry album Vest (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity fore fronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 PRIDE series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with French mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always). The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year you will ever experience). The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.
FAVELA DISCOS (PORTUGAL)
CAT #: FAVELA 052LPDESILUSAO OPTICA In Trux We Pux 02 LP
In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 02 contains the first of Favela Discos' collective pieces to be published, and it was chosen to represent a long series of site-specific pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label's archives. Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object. Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound you hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds. The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when you watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses. Like in dub music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master/sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals. Printed inner sleeve.
CAT #: FAVELA 053LPMILTETO In Trux We Pux 03 LP
In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. Milteto is an informal orchestra born out of the Favela Discos collective somewhere in 2014. The idea, that had been around for a while, was materialized for a concert in one of the first events hosted by Favela, in the extinct Picadilly Pub in Porto, a small strip club turned underground venue. It was one of those wet pre-covid nights where the condensation dripped down the mirrored walls, in a loud endurance contest that resulted in a fainted audience member. For a very large number of reasons, it would be hard to define Milteto's whole "career" in an album: the band has always inhabited the live context, trying to create massive immersive sound experiences for both the listeners and the musicians, subconsciously seeking to achieve transcendence by volume. So, in reality this is a momentary reflection of an always mutating entity, instead of trying to define the several years of drastically different experiences in just 45 minutes, they took to the album as just another live presentation where they adapted to the idea of what a record could be as if they would adapt to a venue. Faced with the idea of creating an album that reflected the project's mutability, the band looked at the medium itself for inspiration, as the vinyl record has two sides, they thought that maybe it would be a good idea to reflect that on the music. So, the recording sessions were split into two days, with two different groups of guests. One side set to recreate a more physical manifestation of the band, the other a more mental side, the first teeming with percussion, the other with electronic devices and synthesizers. Printed inner sleeve.
CAT #: FAVELA 054LPVA In Trux We Pux 04 LP
In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 04 is the last in a series of four records organized by Favela Discos, set out to shine a light on Porto's thriving experimental and improvised music scene. Throughout the collection the label tries to expose the eclectic sound and collaborative practices that have been in development in the last few years in the city by promoting the collaboration between artists and the creation of new collective improvisation pieces. As the first album dwelled into the electronic specter of the scene, this volume veers itself to the physical side of experimental and improvised explorations. Although there is space for outsiders manipulating the sound by electronic means, most of the music in this album is plucked, bowed, percussed or sung. The artists themselves are as varied as the music they played, among the 13 artists that collaborated for the creation of this album are many promising newcomers but also some of the more recognizable and relevant names in the scene, with the presence of the Sonoscopia founder Gustavo Costa, João Pais Filipe, one of the most characteristic drummers in Portugal, and the DIY duo and underground staple Calhau! As you could suspect, the diverse selection of musicians, while providing you a view on the various kinds of musical languages that populate the city's scene, also creates a dynamic collection of sounds. Spanning a large gamut of sub-sub-genres, from near-musique concrète to tribal noise, the album is a rollercoaster collage that miraculously achieves logic and cohesion, like a voyeur listener taking you on a journey through an abandoned mall where most of the bands in Porto rehearse, whose halls reverberate with a cacophony of music. Also features Diogo Jesus, David Machado & Nuno Pinto, Jorge Queijo & Tiago Ângelo, Dora Vieira & João Pais Filipe, Angélica, and Filipe Felizardo & Nuno O. Printed inner sleeve.
CAT #: FAVELA 057CDSARNADAS The Hum 2CD
The Hum is the debut opus of Sarnadas, a Portuguese transdisciplinary artist working sound, image, space and everything in between. The four hour-plus long album, set to be released in two parts, is a direct consequence of his work with the disruptive artistic collective Favela Discos. By suspending some protocols but, most importantly, by suspending time itself in a seamless never-ending loop of layered melodies, Sarnadas allows himself to focus on developing new possibilities with the manipulation of the context created, rather than relying on the false necessity of constant output. Over the 15 pieces of deeply moving, bright, but calming music, Sarnadas waives off rigid musical structures to loop, overdub, and erect layers of synth phrases which relate to each other in the enclosed environment of The Hum. The Porto-based musician prompts his search for melodic opulence in the seemingly still soundscape of organic repetitiveness, where the encounter plays as big of a role as controlled randomness and the mismatch of melodies, sounds and textures. Sarnadas's approach to music writing allows details to be generated, rather than forced into music, creating a state of conscious lethargy where dreaming plays an active role on the outcome of sound. Recorded live throughout two days, the two-part album is reflective of Sarnadas's need to suspend time and figure out a new pathos by allowing himself to work endlessly on the single output of choice: a three-oscillator homemade synth constructed by his long-time collaborator Inês Castanheira (Well). This simple instrument, paired with a mixer and pedalboard paraphernalia, freed him to work loops, textures, brightness and chance into a compelling design of organic and mutating spaces. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.
CAT #: FAVELA 058CDSARNADAS The Humm 2CD
Sarnadas, a multi-disciplinary artist based in Porto, returns with the second instalment of his drone opus The Hum. Titled The Humm, this second long-play album follows the first record, having resulted from the same two-day, extensive and intensive composing sessions during which the producer created eight hours of layered, ambient music. Sarnadas focused his endeavor on a stripped-down setup comprised of just a homemade synth, a mixer and some effects pedals, generating various layers of sound and manipulating their overlapping and apparently random relationship to create eight pieces of spatial, dreamy music, with ever-changing organic plasticity. The concept behind the double album The Hum lies in the new moniker Sarnadas, also known for his singer-songwriter Coelho Radiactivo persona, or as João Sarnadas, one of Favela collective's spearheads. As Sarnadas, the musician focuses on a more melodic approach to sound, unravelling new possibilities by relating simple elements, shifting over time and space. Drawing inspiration from the idea of cities humming their own tunes, as an expression of all things urban playing in the background, The Hum series describes Porto and Aveiro (Sarnadas's native city) pulsing lives through nuanced drones. Over the first long-play, Sarnadas created a series of bleak ambient pieces, with saturated sounds overwhelming senses as a means to create images surpassing the reality of each city. The Humm, on the other hand, all pieces of music shift from a lucid-dream feeling to a sensation closer to waking up, soberer and graced by dawn, where less abrasive layers allow the interpretation of clearer forms and images. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.
CAT #: FD 062LPBATSAYKHAN Batsaykhan LP
Batsaykhan is the rebirth of the first project to ever release on Favela Discos, only a few hours after the label's blogspot was put online back in 2013. Formerly known as Batsaykhantuul, Batsaykhan is not only one of Nuno Oliveira's alter-egos but also something between a science fiction character and an ancestral spirit doomed to wander the earth in an apparently human physical manifestation. The first album, Maestro Ir Noras, is a small and simple collection of tracks featuring only guitars and other stringed instruments, the second, being even smaller (only a single track) already seemed to lead us on through the psychedelic desert that would define the sound of the project. After a long hiatus, Batsaykhan finally emerged from the drawer, or maybe it was from the desert, only to reveal that he had shape-shifted, now taking the form of a trio. With the help of André Azevedo and Tito Silva, Nuno started working on old demos of unpublished compositions and adapting them to the new formation. The trio started the process of refining the songs and the sound of the record, using only a strict selection of synths, percussions, bass, and guitar. They ended up settling down on a terrain of moving sands for those who feel the need to define their sound, between a forest of psychedelia, a river of ambient and the obvious desert that has buried the guitars under its "western" sand. Batsaykhan's self-titled release, and the project's first long play will finally unveil itself with design and artwork by Rita Laranja.
FINDERS KEEPERS (UK)
CAT #: FKR 022X-LPVA Midnight Massiera: The B-Music Of Jean-Pierre Massiera LP
Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought-after fuzz funk, spooked surf and interplanetary prog from "The French Joe Meek" and all his schizoid split-personalities and freakish friends -- The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound, and Jesus himself. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way. This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavor it's a large dollop of drama. Add sprinklings of schizophrenia, shock, myrth, and macabre and you are on the way to a B-movie broth with an acquired taste, that has taken over thirty years to mature to perfection. Like all the best monsters, his split personality is the key to his infamy and the secret of his blood sucking success. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career, he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer... For years prog rock obsessives and disco aficionados have wondered if there were two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory. Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two -- he spoke to Jesus, went crazy, and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens... That would be the end of chapter one and this is the era that Finders Keepers focus on for this compendium. Features Visitors, S.E.M. Studios, Jesus, Les Chats, The Starlights, Basile, Chico Magnetic Band, Les Maledictus Soundm Basile, Human Egg, Les Monegasques, Chris Gallbert, Hermans Rockets, Piranhas, and After Life.
GET ON DOWN
CAT #: GET 51465LPOTIS, SHUGGIE Inspiration Information LP
"Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career, he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence."
CAT #: GET 51471LPDAVIS, MILES The Man With The Horn LP
"The return!!! After a nine-year hiatus from recording studio albums, Miles Davis returned in 1981 with a bang. Continuing the abstract improvisational funk pioneered by the Miles Davis live electric band, Miles came back with a fresh cast. While there are plenty of new players on this recording it captures the moody long-song format from the mid-70s live electric band. The album features R&B legend Marcus Miller on bass, Mike Stern on guitar, electric band alumni Al Foster on drums, and many more. Produced and edited by long term Miles Davis collaborator Teo Macero. Pressed on crystal clear vinyl with Japanese stylized insert and deluxe obi strip. Remastered from the original analog tapes."
GOD RECORDS (AUSTRIA)
CAT #: GODREC 027LP
FILE UNDER: CLASSICALFELDMAN, MORTON For Bunita Marcus 2LP
2022 restock. Lenio Liatsou performs Morton Feldman's composition "For Bunita Marcus". In the 1980's, Morton Feldman composed two large-sized pieces for his favorite instrument, the piano. Both pieces, "Triadic Memories" (1981) and "For Bunita Marcus" (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to. "Triadic Memories" demonstrates the complexity and tonal opulence of Feldman's pattern compositions from 1977 through 1983, whereas "For Bunita Marcus" shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described "For Bunita Marcus" as a piece in which he "seriously grappled with the idea of meter. I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation I'm close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. 'For Bunita Marcus' is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and the five-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on." - Excerpt from liner notes by Sebastian Claren .
HABIBI FUNK (GERMANY)
CAT #: HAB 007LPVA Habibi Funk 2LP
2022 repress. Double LP version. Includes 12" 12-page booklet. "Habibi Funk is dedicated to re-releasing a style of music that historically never existed as a musical genre. We use the term to describe a certain sound that we like from the countries of the Arab world. The songs we chose were created in places quite far from another and under very different circumstances. Some were written and recorded during war times, others in exile. Despite the differences we think there is a musical connection between them. Essentially, we are interested in the musical endeavors, in which artists from the Arab world mixed local and regional influences with musical interests that came from outside of the region. Even though the name suggests it's all about funk music, our focus is more than just that. Often these influences might be inspired from Western popular music such as soul, pop and rock but it's not limited to that either. Some of our favorite records are best described as Arabic zouk (a genre originating from the Caribbean islands of Martinique and Guadeloupe) like Mallek Mohamed's music, Algerian coladera (a popular musical style from the Cape Verdean islands) or Lebanese AOR, which means the process of musical influences displayed on this compilation was much more versatile than just taking Western music as a blueprint and translating it with a local accent. The compilation features 15 different artists. Some you might already know thru Habibi Funk's releases like Fadoul, Ahmed Malek, Dalton or Al Massrieen, while others are meant as an introduction to artists like Kamal Keila, Sharhabeel Ahmed, Attarazat Addahabia & Mallek Mohamed who will all release full length albums on Habibi Funk in 2018."
HALOCLINE TRANCE (CANADA)
CAT #: HTRA 026LPPRIEST, ELDRITCH Omphaloskepsis 2LP
It might seem tongue-in-cheek on the surface, but the fact that the title of Eldritch Priest's sprawling debut vinyl release, Omphaloskepsis, is the Greek translation for "navel-gazing" unlocks something essential to the Vancouver-based composer and writer's singular outlook. Perhaps even more telling is the title of Priest's 2013 book Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury), whose 300-odd pages read as though you've been dosed with potent hallucinogens. Throughout the text Priest addresses -- celebrates, even -- the titular elements via various musical examples, including that of his peers. The restless stasis of Omphaloskepsis could be regarded as an extension of this book's wayward spirit. Things unfold fairly slowly and consistently but it'd be a stretch to describe it as properly contemplative. Like attempting to meditate with a high fever, any sense of tranquility is constantly derailed as one succumbs to queasy agitation. The piece's foundation is a seemingly endless guitar melody; an organic meander that neither seems to repeat or offer any concessions to narrative directionality. Priest unfurls this rambling cantus firmus in a rich, clean, jazz-like tone, but as it's played, it's repeatedly tangled with snarls of dense digital processing and shadowed by stumbling virtual "band." These strident interjections blatantly contrast with the guitar, yet they aren't so violent as to offer more than a faint itch of distraction. As such, the distinctive amorphousness that this piece asks us to inhabit for its 54-minute duration leaves a strong impression, but also feels utterly intangible. In addition to his recorded forays, Priest's disorienting music has also been performed by top-tier interpreters such as the Arditti Quartet, Quatuor Bozzini, Philip Thomas, Anton Lukoszevieze, and Continuum. While living in Toronto he co-founded the collective neither/nor with John Mark Sherlock, which featured a cross section of musician-composers playing each other's work including Eric Chenaux, Doug Tielli, Eric KM Clark, Heather Roche, and Rob Clutton. In 2021, when Eric Chenaux and Martin Arnold relaunched their neither/nor-adjacent Rat-drifting imprint, an album by Priest, Many Traceries, was among the first to be released. Perhaps unsurprisingly, Priest was a student at the University of Victoria, a school that's come to be known for fostering such staunch individualists as Arnold, Linda Catlin Smith, Allison Cameron, and Anna Höstman. As a scholar, Priest writes from a pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. In addition to Omphaloskepsis, his new book, Earworm and Event: Music, Daydreams and Other Imaginary Refrains, was recently published by Duke University Press.
HEAVY PSYCH SOUNDS (ITALY)
CAT #: HPS 179S-LPDUEL In Carne Persona (Red Splatter/Green Vinyl) LP
LP version. Green background, red splatter vinyl. In Carne Persona, the upcoming fourth full-length album from Texas heavy rockers Duel, is more of what you have come to expect from the band. Nine new heavy riff-soaked tracks from a dungeon in the desert. Written and recorded during plague lockdown, In Carne Persona has the feel of an album that takes its time and full attention to detail. Several upbeat classic guitar rockers in the vein of Thin Lizzy, early UFO, and the beginnings of KISS. A handful of old school new wave of British heavy metal anthems channeling early Judas Priest and Iron Maiden, tripped-out stoner and proto metal soundscapes. Always pushing the barriers of their sound and offering up something new with the soul of the classic Duel evil boogie.
HOLIDAYS RECORDS (ITALY)
CAT #: HOL 126LPRUSHFORD, JAMES Block Gifts LP
Block Gifts is a collection of three works for organs composed by James Rushford between 2015 and 2018. Using harmonium, portative organ and electric organ, each piece is linked by Rushford's idiosyncratic combination of strict intervallic systems in different tunings (Werckmeister, quarter-tone, equal temperament), and haptically-informed rhythmic and expressive freedom. Creaks, stutters and sweeping fingers on keys become instrumental sounds in their own right, creating a further logical layer in Rushford's compositional world. An intimate, nocturnal, and slightly suffered dialogue between the instrument and the body building a shining and fragile monument to the ephemeral nature of the organ, one of the most intriguing and ancient families of musical instruments in history. Composed and recorded 2015-2018 at Akademie Schloss Solitude (Stuttgart). Mixed by Joe Talia, mastered by Giuseppe Ielasi, cut by Daniel Krieger at SST, Frankfurt am Main. Cover artwork and fold out poster by Graham Lambkin. Includes fold-out A2 poster; edition of 300.
CAT #: HOS 734CDTHIRDORGAN Loch Ness Monster CD
New album from Japan's most extreme noise artist -- Thirdorgan. Owner of Alienation Cult label returns to a mysterious and wonderful theme that will be familiar to Thirdorgan fanatics, collectors, and admirers -- of Loch Ness. No one knows if Nessie exists or does not exist. No one knows what Nessie really is, mysterious and wonderful. Anyone who has visited Loch Ness multiple times must answer surely... Nessie exists, that's the answer... Do you believe Loch Ness Monster?
CAT #: IMPREC 305CSEMMANUEL, JD Wizards Cassette
Fans of deep, dark, minimal, and meditative new age music on cassette will be chuffed to learn that Important Records is reissuing three of JD Emmanuel's earliest releases on tape. Rain Forest Music (1981), Wizards (1982), and Trance Formations 1: Ancient Minimal Meditations (1986) are all available for the first time in many years."Wizards was my first deep trance electronic music album. This album was inspired by Terry Riley, one of the earliest people ever to compose and perform long, extended, cyclic pieces in the electronic format. This music was composed and performed in '81 and '82. I consider this album my best work. The instrumentation is three Sequential Circuits PRO-1s, Crumar Traveler One and a Yamaha SK-20, all real time recording to a Teac 4-track reel-to-reel. I mixed the four tracks to a Teac A-7300 Master 2-Track tape recorder using a DeltaLab DL-2 to create the delay track. In 2006, I used a Tascam 34B 4-track to remaster all my master tapes to digital master of 196 KHz/24 bit .WAV files using Soundforge 8 software. The original Wizards LP was published in the summer of 1982 with the black-and-white cover. The initial tracks had not names and were call 'Movements I-V'. Several years later sales had slowed down, in an effort to improve sales we tried the color cover and I created names for each track, as shown on the samples." --JD Emmanuel"If you have been wondering what all the fuss about 'private press new age' is, go here to find out. Your mind shall be subtly blown..." --Fader
CAT #: IMPREC 516CSEMMANUEL, JD Rain Forest Music Cassette
Fans of deep, dark, minimal, and meditative new age music on cassette will be chuffed to learn that Important Records is reissuing three of JD Emmanuel's earliest releases on tape. Rain Forest Music (1981), Wizards (1982), and Trance Formations 1: Ancient Minimal Meditations (1986) are all available for the first time in many years.On Rain Forest Music (1981), JD Emmanuel builds gentle, short cycles of notes into floating clouds of sound, mostly improvising around single chords. The "minimalism" in his music lies not in repetitive patterns that barely change but more in the spare arrangements that focus the listener while also taking them on a sonic journey. A tape loop technique used by Brian Eno, Terry Riley, Robert Fripp (and likely many more) called "Continuous Looping" was used in the creation of this album and a loop diagram is included in the packaging."I originally designed this music to enhance relaxation and meditation, as a background for massage or for counseling to help a person relax and open up faster. Dr. Robert Pennington, PhD., a clinical psychologist and friend, was very interested in the idea of using music in this way. So, he used the Rain Forest Music in his counseling sessions as background and noticed a marked difference in the quality of the patient's sessions. He continues to use this and similar music as a background for his counseling." --JD Emmanuel."If you have been wondering what all the fuss about 'private press new age' is, go here to find out. Your mind shall be subtly blown..." --Fader
CAT #: IMPREC 517CSEMMANUEL, JD Trance Formations 1: Ancient Minimal Meditations Cassette
Fans of deep, dark, minimal, and meditative new age music on cassette will be chuffed to learn that Important Records is reissuing three of JD Emmanuel's earliest releases on tape. Rain Forest Music (1981), Wizards (1982), and Trance Formations 1: Ancient Minimal Meditations (1986) are all available for the first time in many years.Trance-Formations 1: Ancient Minimal Meditations (1986) was originally composed between 1981-1985 and released in 1986. These long, extended cyclic pieces were composed and recorded using delayed analog synthesizers and Emmanuel credits the inspiration of Terry Riley and Steve Reich for sending him in this musical direction. The release of this album followed his acclaimed Wizards (1982). Recorded using three Sequential Circuits Pro-One synthesizers and a Yamaha SK-20 Poly-Synthesizer. 100% analog sound. Mastered by JD Emmanuel."If you have been wondering what all the fuss about 'private press new age' is, go here to find out. Your mind shall be subtly blown..." --Fader
KALITA RECORDS (UK)
CAT #: KALITA 009LPVA Borga Revolution! Ghanaian Music In The Digital Age, 1983-1992 (Volume 1) 2LP
Kalita Records unveil the first ever compilation focusing on the phenomenon of "Burger Highlife", a crossover of West African melodies with synthesizers, disco, and boogie that took over Ghanaian airwaves during the 1980s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe's Afri-Beat, Kalita come to the rescue of audiophiles, DJs, and music-lovers alike with Borga Revolution! The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul, and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships, and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive. As a result, many Ghanaian musicians with a broader outlook began to pursue their careers in the west, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitized version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the Yamaha DX7 synthesizer and various drum machines. It is in this context in which the evolution of Ghanaian dance music and the emergence of "Burger Highlife" was born. With Borga Revolution!, Kalita endeavor to tell this story, with prominent and lesser-known musicians' accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age. Also features Native Spirit, Wilson Boateng, Paa Jude, and Dr. K. Gyasi's Noble Kings. Includes 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos. Gatefold sleeve.
L'INVITATION MUSICALE (FRANCE)
CAT #: INVMUS 1007LPBON VOYAGE ORGANISATION (Loin Des) Rivages LP
LP version. French composer, producer and multi-instrumentalist Adrien Durand's third album. An instrumental odyssey with an ensemble of 13 musicians. Adrien Durand: "Our last album, La Course was released in 2020 during the lockdown. Inspired by the feedback from listeners, who received the music with special attention, the idea and need for (Loin Des) Rivages was born." Bon Voyage Organisation is the story of the construction of an ensemble, the quest for harmony, through music, between beings. This story has been the central leitmotif in Adrien Durand's composition and production work for almost ten years. Adrien Durand is a renowned Parisian bass keyboard player, composer, producer, and mixing engineer having worked with noteworthy projects such as Amadou & Mariam and Papooz, among others. Known for his knowledge of ensemble recording and arrangement techniques, BVO is his attempt at meticulously creating a musical dialogue around his compositions with a distinguished cast of musicians from di?erent backgrounds without the pressure associated with pop music recordings reminiscent of the musical ensembles of the '70s, such as Carla Bley, Soft Machine, or Irakere. (Loin Des) Rivages was recorded over five days in June 2020 at Studio Atlas, the studio of Air's Jean-Benoit Dunckel and mixed the following summer by Adrien Durand in his Parisian studio, Bureau 12. It was an orchestrated performance considering that all ten tracks of the album were played live, gathering up to thirteen musicians in the same room. The album follows what was initiated with BVO's previous album La Course, an entirely instrumental sound free from any constraints. The close collaboration between Adrien Durand and the members of the ensemble allowed for an exquisite completion. Together, they deliver the incredible energy of "Le Sentier Des Orpailleurs", the depth of melancholy of "Apacheta", and the originality of "Et S'éveillent"... Inspired by the great explorers of the soul: Sun Ra, Moondog, and Coltrane (a cover of Coltrane's "Naïma" actually opens the album), Durand mixes humanity's first instruments (percussion and the wind) with its latest ones (mixing desks and synthesizers). Thus, he continues the most interesting yet rewarding artistic journey: the journey inward, far from the standards of civilization, in the heart of what some can take for madness, reaching into a jungle of the soul so marvelously represented in Clément Vuillet's artwork. This is not an intellectual record but rather a spiritual e?ort, because, as Adrien Durand likes to repeat in his concerts: "Let us step into music as we step into a sanctuary."
LES DISQUES BONGO JOE (SWITZERLAND)
CAT #: BJR 025CDALTIN GUN On CD
2018 release. Alt?n Gün offer an exciting mix of Turkish folk, psychedelia, funk, and rock. After performing in Istanbul with Jacco Gardner, bassist Jasper Verhulst became fascinated by the Turkish sound of the '70s. At that time, artists like Selda, Bar?? Manço, and Erkin Koray combined traditional music with western rock influences. Along with bandmates Ben Rider (guitar) and Nic Mauskovic (drums), Verhulst searched for Turkish musicians to revive this sound. They found Merve Dasdemir (vocals) and Erdinc Yildiz Ecevit (vocals, saz, keys) through Facebook. Jungle by Nigaht's energetic percussionist Gino Groeneveld joined the group and the band was complete. Alt?n Gün play songs from the aforementioned artists from the '70s and their lesser-known contemporaries and also make their own arrangements of Turkish traditionals. This way, different worlds meet and form a refreshing danceable sound.
CAT #: BJR 028CDYILDIRIM & GRUP SIMSEK, DERYA Kar Yagar CD
2019 release. Two years after the success of Nem Kald? (2017), outernational psych-pop sensation Derya Y?ld?r?m & Grup ?im?ek deliver their debut album, Kar Ya?ar. Over the course of its 12 tracks, the powerful sound of the Ba?lama (Turkish lute) and Derya Y?ld?r?m's stunning vocals, builds and unravels stories together with the guitars, organs, drums, flute, and bass. Kar Ya?ar (which translates as "Snow Falls") has the dynamics of an epic journey through the Anatolian highlands; where deep-rooted folk effortlessly switches to sparkly improvisation or dance-y pop tracks. The album was self-produced at their studio in the French Alps, and the band's tour de force resides in their ability to develop their personal sound and approach whilst keeping their heart tuned to Derya Y?ld?r?m's Anatolian roots. Original songs and instrumentals -- all composed and arranged by the band -- are scattered throughout the album. Notably "Seni Hala", a tear-drawing ballad with stripped-down acoustic arrangement and haunting choir... And Graham Mushnik's dreamy instrumental "Çocuklar", in which the band chose to feature a poem by one of Turkey's most renowned 20th century poet Nâz?m Hikmet Ran whose title translates as "give the world to our children". The poem is meaningfully read by Derya's father Mustafa Y?ld?r?m. The LP also contains a string of Turkish folk songs, that the band entirely re-arranged whilst preserving their original spirit and soul. In "Ey ?ahin Bak??l?m" Grup ?im?ek pay tribute to the Alevi culture, a minority community in Turkey for which music -- and particularly the Ba?lama instrument -- has a sacred value. A powerful and majestic version of Mahzuni ?erif's "Dom Dom Kur?unu" -- one of Grup ?im?ek fans' favorites at live shows -- is also featured.
CAT #: BJR 028LPYILDIRIM & GRUP SIMSEK, DERYA Kar Yagar LP
LP version. 2019 release. Two years after the success of Nem Kald? (2017), outernational psych-pop sensation Derya Y?ld?r?m & Grup ?im?ek deliver their debut album, Kar Ya?ar. Over the course of its 12 tracks, the powerful sound of the Ba?lama (Turkish lute) and Derya Y?ld?r?m's stunning vocals, builds and unravels stories together with the guitars, organs, drums, flute, and bass. Kar Ya?ar (which translates as "Snow Falls") has the dynamics of an epic journey through the Anatolian highlands; where deep-rooted folk effortlessly switches to sparkly improvisation or dance-y pop tracks. The album was self-produced at their studio in the French Alps, and the band's tour de force resides in their ability to develop their personal sound and approach whilst keeping their heart tuned to Derya Y?ld?r?m's Anatolian roots. Original songs and instrumentals -- all composed and arranged by the band -- are scattered throughout the album. Notably "Seni Hala", a tear-drawing ballad with stripped-down acoustic arrangement and haunting choir... And Graham Mushnik's dreamy instrumental "Çocuklar", in which the band chose to feature a poem by one of Turkey's most renowned 20th century poet Nâz?m Hikmet Ran whose title translates as "give the world to our children". The poem is meaningfully read by Derya's father Mustafa Y?ld?r?m. The LP also contains a string of Turkish folk songs, that the band entirely re-arranged whilst preserving their original spirit and soul. In "Ey ?ahin Bak??l?m" Grup ?im?ek pay tribute to the Alevi culture, a minority community in Turkey for which music -- and particularly the Ba?lama instrument -- has a sacred value. A powerful and majestic version of Mahzuni ?erif's "Dom Dom Kur?unu" -- one of Grup ?im?ek fans' favorites at live shows -- is also featured.
CAT #: BJR 046CDYIN YIN The Rabbit That Hunts Tigers CD
2019 release. Where to place Y?n Y?n on the map -- maybe somewhere between Netherlands and South-East Asia, on an imaginary tropical island. That's where they brew a strange cocktail made of disco grooves, powerful "Thaï beat" tunes and experimental tropi-synths. After two mind-blowing singles on Les Disques Bongo Joe, Y?n Y?n are back with The Rabbit That Hunts Tigers. Y?n Y?n passed last month's burning scenes and make people dance around Europe, so they're ready to blow the world with this awaited first album. Made of groovy tunes and dancefloor killers, this album could be the crazy soundtrack of a '60s hippie village on the South China Sea.
CAT #: BJR 054CDMERIDIAN BROTHERS Cumbia Siglo XXI CD
2020 release. After the very acoustic ¿Dónde estás María? (2017) the Meridian Brothers decided to try a new experiment taking as a reference the legendary group Cumbia Siglo XX which is a group who explores a futuristic vision of coastal cumbia in the '80s, together with other groups such as Grupo Folclórico, 2000 Voltios, and others, mainly under the label Machuca and Felito Records. This new '80s cumbia was a combination of funky basses and a further evolution of the rhythms, blending this style with disco and even rock music and superimposing the traditional versus the urban context and the modernity. Meridian Brothers took this as a departing point and inspiration, making the same experiment but in XXI century, using the modern media of this time; all kinds of drum machines, guitars and synths, algorithmic software etc., and also taking into account the global exposition of modern cumbia in the 2010s. So, all kinds of influences and genres are blended around this cumbia axis. Urban beats, synth-y grooves, glitches, and all kinds of swear words (and its censorship), and all kinds of slang language are included in the songs of the album. All these elements are filtered and passed through the traditional train of thought of Meridian Brothers, which is the figuration of an abstract picture of sound put it within a concrete context or cultural tendency.
CAT #: BJR 059LPVA La Ola Interior: Spanish Ambient & Acid Exoticism 1983-1990 2LP
2022 repress. 2020 release. Following La Contra Ola (BJR015), Bongo Joe is pleased to present La Ola Interior, a compilation exploring the ambient side of the Spanish electronic music produced in the '80s. As a general rule, the Anglo-Saxon tropism did relate the Spanish peninsula's ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza's nightclubs. But this music takes place in the productive territory of experimental music, and particularly in its two main breeding grounds: the tape-recording underground and the independent musicians-producers scene. Inseparable from the processes of self-publishing, distribution, and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz/Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al Desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German kosmische musik and "krautrock", also develops here. The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the '70s. Some were influenced by American minimalism (Luis Delgado/Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth World music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz. These two scenes and generations that make up La Ola Interior intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which the label has called "Acid Exoticism" because of its permanent search for trance or contemplation. Features Miguel A. Ruiz, Camino al Desván, Mecánica Popular, Finis Africae, Orfeón Gagarin, Victor Nubla, Javier Segura, Jabir, Esplendor Geométrico, Luis Delgado, Mataparda, Suso Saiz, and Eli Gras.
CAT #: BJR 070CDMERIDIAN BROTHERS Y CONJUNTO MEDIA LUNA Paz En La Tierra CD
2021 release. Paz En La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a "power format" of Colombian Caribbean music; accordion, guacharaca, caja, congas, electric bass, and vocals. Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto Media Luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music. The duo departed from the basic: the line of Vallenato, the most famous in the country but not the only one, the line of Sabanero music more of the lands of Sucre and Córdoba inclined towards Cumbia, Bullerengue, son Vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record. In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future. Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of Paz En La Tierra is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.
CAT #: BJR 080CDLEONI LEONI Leoni Leoni CD
Homemade ambient synth songs that will lead you to a state between deep relaxation and pleasant chemical high. Subtle, sincere, but also strange, Leoni Leoni's music has a powerful attraction and a unique bewitching force. The synthesizers sizzle, the drum machine moves forward sometimes throbbing. Upon it, the Bernese musician and producer sings about life, about love, in their banality and magnificence. With four homemade cassettes released since 2019, Leoni Leoni has established herself as a major figure of the Swiss underground. With dozens of concerts across Switzerland and France, she distills to perfection her music in the weirdest places, the craziest parties. A bit of magic, the scent of drugs, the caress of a summer white night... let yourself be carried away. Les Disques Bongo Joe release Leoni Leoni's work on vinyl for the first time, compiling the major tracks from her cassette releases.
CAT #: BJR 080LPLEONI LEONI Leoni Leoni LP
LP version. Homemade ambient synth songs that will lead you to a state between deep relaxation and pleasant chemical high. Subtle, sincere, but also strange, Leoni Leoni's music has a powerful attraction and a unique bewitching force. The synthesizers sizzle, the drum machine moves forward sometimes throbbing. Upon it, the Bernese musician and producer sings about life, about love, in their banality and magnificence. With four homemade cassettes released since 2019, Leoni Leoni has established herself as a major figure of the Swiss underground. With dozens of concerts across Switzerland and France, she distills to perfection her music in the weirdest places, the craziest parties. A bit of magic, the scent of drugs, the caress of a summer white night... let yourself be carried away. Les Disques Bongo Joe release Leoni Leoni's work on vinyl for the first time, compiling the major tracks from her cassette releases.
LONDON RECORDS (FRANCE)
CAT #: LMS 5521698ORBITAL 30 Something 4LP BOX
Four LP box version. 180 gram vinyl. Includes 12x12" foldout booklet. Includes slip mat. Orbital missed their actual thirtieth anniversary due to lockdown, but it gave Paul and Phil pause to think and find a way to celebrate their past that was actually about the future. Unlike other "Best Of"s, the 30 Something album contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks based on the duo's unrivalled live show. "Satan", "The Box", "Impact", "Belfast", and more appear in new 30 Something guises, familiar yet new, time reversing, yesterday becoming tomorrow. Plus, new track "Smiley". Also including remixes from Yotto, ANNA, Jon Hopkins, Dusky, Joris Voorn, Logo 1000, Eli Brown, Shanti Celeste, and more. Also features remixes by Floex, John Tejada, Octave One, Lone, Rich NxT, and David Holmes. Includes sleeve notes by Andrew Harrison.
CAT #: LMS 5521743ORBITAL 30 Something 2CD
Orbital missed their actual thirtieth anniversary due to lockdown, but it gave Paul and Phil pause to think and find a way to celebrate their past that was actually about the future. Unlike other "Best Of"s, the 30 Something album contains reworks, remakes, remixes and re-imaginings of landmark Orbital tracks based on the duo's unrivalled live show. "Satan", "The Box", "Impact", "Belfast", and more appear in new 30 Something guises, familiar yet new, time reversing, yesterday becoming tomorrow. Plus, new track "Smiley". Also including remixes from Yotto, ANNA, Jon Hopkins, Dusky, Joris Voorn, Logo 1000, Eli Brown, Shanti Celeste, and more. Also features remixes by Floex, John Tejada, Octave One, Lone, Rich NxT, and David Holmes. Includes sleeve notes by Andrew Harrison.
CAT #: LWLY 004LPKUNZITE Visuals 2LP
The movements of Kunzite's Mike Stroud and Agustin White have seen them orbiting around each other, occasionally crossing paths yet consistently admiring each other's work. The pair traversed the globe separately with their different projects and personal adventures -- Mike touring with his band Ratatat and Agustin on a spiritual journey exploring yoga, meditation and psychedelics -- while looking to one day do something together. The formation of Kunzite saw them finally able to merge their minds and mission, with a sound that blends psychedelia with electronic, beat-heavy production and live instrumentation. Most of the recording process for their new album, Visuals, started while at Agustin's stripped back studio in Hawaii, and finished at Mike's barn studio in upstate New York, with instrumentation including acoustic, electric and lap steel guitars, organ, synthesizers and the charango. "Antigravity" features Lee Scratch Perry. Gatefold sleeve; etching on side 4.
MADE IN GERMANY (GERMANY)
CAT #: MIG 731LPAGITATION FREE Malesch LP
2022 restock. "A vinyl re-release of the debut-album by legendary krautrock avant garde band Agitation Free, starring Lutz 'Lüül' Graf-Ulbrich on guitar, who late became part of Ash Ra with Manuel Göttsching."
MUSHROOM HOUR HALF HOUR (SOUTH AFRICA)
CAT #: M3H 010LPMOGOROSI, TUMI Group Theory: Black Music LP
LP version. Gatefold sleeve. Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi. Standing in the lineage of South African greats such as Louis Moholo-Moholo, Makaya Ntshoko, and Ayanda Sikade, Mogorosi is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach, and Art Blakey. Since his international debut on Jazzman Records in 2014 with Project ELO, Mogorosi has been in the vanguard of the South African creative music scene's burgeoning outer-national dimension, taking the drummer's chair in both Shabaka Hutchings' Shabaka and The Ancestors formation and with avant-garde noiseniks The Wretched, who featured on Brownswood's acclaimed South African showcase, Indaba Is. Where Group Theory: Black Music moves an established format dramatically forward is in the addition of a nine-person choir. Their massed voices soar powerfully above every track as a collective instrument of human breath and body, and enter the album into the small but significant number of radical recordings to have used the voice in this way, such as Max Roach's It's Time (1962), Andrew Hill's Lift Every Voice (1970), Billy Harper's Capra Black (1973), and Donald Byrd's I'm Trying To Get Home. Features a cross-generational line-up of celebrated South African musicians including guitarist Reza Khota, pianist Andile Yenana, and vocalists Gabi Motuba and Siyabonga Mthembu. Also features Lesego Rampolokeng. For fans of: Dollar Brand (Abdullah Ibrahim), Shabaka Hutchings, John Coltrane, Max Roach, Donald Byrd, Abbey Lincoln, Art Blakey.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 3113COL-LPBLAKEY AND THE JAZZ MESSENGERS, ART Reflections In Blue LP
"The Jazz Messengers were a jazz combo that was founded by Art Blakey, together with Horace Silver. Soon after its founding, the Jazz Messengers became known as an incubator for young talent. Band leader Art Blakey led the collective for over 35 years. The 1978 formation has been described by critics as one of Blakey's strongest groups in years, featuring trumpeter Valery Ponomarev, Robert Watson (also known as Bobby Watson) on alto saxophone, David Schnitter on tenor saxophone, Dennis Irwin on bass and James Williams on piano. With this formation, he recorded the album Reflections In Blue in 1978 in the Netherlands and released the year after on Timeless Records. Reflections In Blue is available as a limited edition of 2000 individually numbered copies on translucent blue colored vinyl."
MUSLIMGAUZE PRESERVATION SOCIETY (CANADA)
CAT #: TMPS 005CDMUSLIMGAUZE In Search Of The Abraham Mosque CD
Warehouse find, last copies. "Listening to Bryn playing was very strange. Hearing him breathing in between the beats and putting his headphones down at the end and getting up and walking out of the room, that was eerie. But again, it was nice at the same time.""Though it was December in the Manchester recording studio and the room properly heated, nevertheless a shiver went down John Delf's spine when the first tentative taps scurried across the surface of the hand drum, followed by a melodic drizzle of rhythms that flowed from the studio monitors. The source was analog reels of his recording sessions with Bryn Jones from 1993 to 1998. Not commonly known (and elaborated in detail in the forthcoming book, Muslimgauze: Chasing the Shadow of Bryn Jones) is that more than an audio engineer, Delf in a sense could be considered a part of Muslimgauze and that some musical stylings can be attributed to his involvement. When Jones hired Delf at the Cutting Rooms Studio in the Abraham Moss Centre in Manchester (credited as the Abraham Mosque on Muslimgauze releases), he was educated on how to use the recording studio as an instrument. They took turns at the mixing desk and produced such pristine recordings as Vote Hezbollah, Hamas Arc, and Veiled Sisters. Sessions were booked once a month, and lasted between four to eight hours each time wherein numerous versions of each song was composed. Jones distilled tracks from these sessions onto masters to submit to labels. Unused portions remained and Jones later revisited these bits to release later or rework. Late in 1998 Jones stopped booking the studio and it was not until mid-1999 that someone finally took the time to explain to Delf why. Delf kept the reels in storage for well over a decade until he was approached by The Muslimgauze Preservation Society in late 2010. Since Jones' passing, Delf further honed his audio engineering craft to greater, refined levels as he worked for marquee bands while building a studio to rival the Cutting Rooms. Says Delf, 'The reels were always something that I was looking forward to having a go at (once more). It was quite exciting to see whether the tapes would actually work or not usable at all. When I put the first tape on it was 'oh no, it is a complete disaster. Not working! What are we going to do?' But when we put the second tape on we thought, 'oh wow! It's all there!' The sonic quality was still there and it was still really bright and full. It instantly returned me to the sessions that we did. Hearing the beats, then the excitement returned. Once I got the reels going, then I realized, 'hang on, there's more here.' It was an eerie and joyful experience. We (Bryn and myself) worked together for a very long time and it went on for 6 years, once a month for a few hours and so it was a long-term relationship. It was nice to go back and hear it again and to know that there are still people, years after he is gone, interested and still want to hear it.' In Search of the Abraham Mosque has a two-fold meaning; one is a search for the studio where legendary Muslimgauze albums were recorded. The second is a reference to the Abraham Mosque in occupied Jerusalem, the tomb of the patriarchs where prophet Abraham is believed to be buried. On this disc, a musical narrative of this journey unfurls over 67 minutes starting at the fringes of Egypt amidst hip hop rhythms, then wanders off into the desert towards the famed Abraham Mosque. Bryn Jones' hand drumming is intimately showcased while cinematic atmospherics and cinematic ambience compliment his organic rhythms. Melodies, both subtle and overt, float in and out of the narrative much like the myriad of voices that converse and shout in Arabic dialects alongside urban and nature sounds, not unlike a radio play. Some moments are serene, whereas others wander through a dense sandstorm goaded by powerful waves of sub bass that instill a growing sense of fervency in the search. Material here will be familiar to Muslimgauze aficionados, but alternate versions and brought in a new light with surpassing audio quality. The narratives continues to wander through dusty Arab villages and refugee camps, the Islamic call to prayer discernible, implying the Abraham Mosque at last found and hints a second part of the narrative, Return to the Abraham Mosque. Listeners are encouraged to play this disc in a setting with minimal distractions to fully appreciate the artistry and technological craft that went into this release. Packaged with papyrus covers hand printed in liberated Egypt, with fold-open full-color insert, glossy sticker and color-surface CD. Turn out the lights, turn on your stereo or headphones, and prepare a visit from the restless spirit of Muslimgauze. This is TMPS 05, part one of a multi-part series."
NAKED LUNCH (ITALY)
CAT #: NAKED 034LPCAYMMI, DORIVAL Brazilian Classics LP
Dorival Caymmi was a Brazilian singer, songwriter, actor, and painter active for more than 70 years beginning in 1933. He contributed to the birth of Brazil's bossa nova movement, and several of his samba pieces, such as "Samba da Minha Terra", "Doralice", and "Saudade da Bahia", have become staples of música popular Brasileira. Equally notable are his ballads celebrating the fishermen and women of Bahia, including "Promessa de Pescador", "O Que É Que a Baiana Tem?", and "Milagre". Caymmi composed about 100 songs in his lifetime, and many of his works are now considered to be Brazilian classics. Both Brazilian and non-Brazilian musicians have covered his songs. Ben Ratliff of The New York Times wrote that Caymmi was "perhaps second only to Antônio Carlos Jobim in 'establishing a songbook of [the 20th] century's Brazilian identity'." This anthology is truly a majestic entry into his own influential lifetime.
CAT #: NOTON 052CDALVA NOTO + RYUICHI SAKAMOTO Insen (Remaster) CD
Originally released in 2005, Insen is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five album series. Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled "Barco." Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 Insen tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. In Insen, Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of "Aurora," you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty. Album art designed by Carsten Nicolai. Mastering by Bo at Calyx.
CAT #: NOTON 052LPALVA NOTO + RYUICHI SAKAMOTO Insen (Remaster) 2LP
Double LP version. Originally released in 2005, Insen is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five album series. Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled "Barco." Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 Insen tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. In Insen, Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of "Aurora," you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty. Album art designed by Carsten Nicolai. Mastering by Bo at Calyx.
CAT #: NA 5009LPL.A. CARNIVAL Would Like To Pose A Question 2LP
2022 repress. "Would Like To Pose A Question is one of the first previously-unreleased funk and soul albums issued by Now-Again, and it still sounds amazing today. Well, it would have to: it's the brainchild of bandleader/drummer/singer/
CAT #: NA 5017LPVA Cold Heat: Heavy Funk Rarities 1968-1974 Vol. 1 2LP
2022 repress. "15 heavy funk rarities presented as a double gatefold LP. Cold Heat is Eothen 'Egon' Alapatt's a follow-up to the famous Funky 16 Corners set he curated in the early 2000s. And like that one, Cold Heat is overflowing with great bits that had barely (or never) been heard by the rest of the world at large. Egon went through a range of rare singles, masters, and demos and came up with tunes that burn with a brightness that's undeniable. The grooves are all on the harder end of the James Brown Funky People side of the spectrum and some tracks are by names that finally got their due here, thanks to Egon, Now-Again, and some of the other funky forces doing the good work over the years."
CAT #: NA 5023LPKASHMERE STAGE BAND Texas Thunder Soul 1968-1974 2LP
2022 repress. "The greatest high school band of all time plays hard soul, funk and jazz on this double LP overview. The word is out The Kashmere Stage Band was the greatest high school band -- ever. The bandleader at Kashmere High School, Conrad Johnson, transformed a bunch of rough-hewn Houston high schoolers into a band that could compete with any in the nation ? professional, or otherwise. Forget high school bands, we're talking about sixteen-year-old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson's Kram label. The band's best tracks are collected on Texas Thunder Soul 1968-1974."
CAT #: NA 5066LPYAGHMAEI, KOUROSH Back From The Brink 3LP
2022 repress. Twenty-one fully restored tracks from Kourosh's original master tapes Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them." No longer comes in gatefold sleeve, no booklet or DL card.
PARADIGM DISCS (UK)
CAT #: PD 037LPALTERATIONS Up Your Sleeve LP
Reissue, previously released in 1980 on David Toop's Quartz label at a time when improvised music in London was settling into a long spell of excellence. The players here are Steve Beresford, Peter Cusack, Terry Day, and David Toop. Terry had been a member of The People Band in the '60s, one of the groups forming part of the first wave of British improvisation. The rest of the group could be regarded as pioneers of a second generation of improvisers who emerged out of the explosion of musical development that came in the wake of AMM, Derek Bailey, SME, etc. Out of this burst of musical energy a platform soon emerged in the form of the London Musicians Collective. A permanent venue and an open network were soon established and the seeds were planted for a wide range of new and exciting players to explore the possibilities of free improvisation. The first Alterations LP from 1978 exemplifies this, with new ideas literally brought to the table -- alongside the numerous conventional instruments played by the group, a plethora of simple musical toys, sound makers, and homemade instruments were used. Up Your Sleeve is their second LP and operates in a similar territory, but takes things to another level with its casual embrace of noise and feedback, and somewhat controversially for improv; fragments of familiar songs and a hearty indulgence in rhythm. In short, Up Your Sleeve is free improvisation drawn from a very broad range of components. It should be said that all the members of the group were also at the same time in bands that played songs, most notably Steve's involvement with The Slits and The Flying Lizards. David also briefly basked as a Lizard, but all four members were singing the same tune in both The 49 Americans and The Promenaders. Maybe it's not so surprising to hear stylistic clashes exploited on this record. London was awash with musical development in the early '80s. Apart from the burgeoning LMC scene there were many post-punk and experimental groups like This Heat and Swell Maps that enriched the creative atmosphere. London labels like Quartz along with Recommended Records, It's War Boys, Incus, Industrial, United Dairies, and countless others were all releasing ground-breaking experimental music. It was arguably the best time for experimental music in London. There was certainly something in the air. Four-page insert; edition of 500.
PENNY RECORDS (ITALY)
CAT #: PNY 009LPTROPICANTESIMO Session 2 LP
Tropicantesimo is a music ritual extended over time and a celebration of sound and dance. It all started ten years ago at the Fanfulla Club in Rome. Nothing more than a party that over the years has transformed into a collective listening experience out of time and space. Meanwhile the collective animated by DJ Hugo Sanchez, Lola Kola, Rocco Bartucci, Gabor, and Egeeno moved to a new club called Pescheria, and opened up to spontaneous live jams and collaborations with musicians and DJs from various backgrounds. Rhythms are incessant while the BPM is slow and hypnotic. Vocals flow between songs, messages and pure sound, while music is an organism which produces energy. The fruit of all this lives through extensive production work based on recordings collected over the years. Tropicantesimo Session 2 is the second of a series of three EPs presented as anticipations of the Tropicantesimo Gitania album release. Like the first EP, this new chapter contains three songs recorded and mixed at Pescheria, the Tropicantesimo laboratory. "Perfidia" is a jazz and easy listening "classic" from the 1940s, re-sung on a recent techno dub track produced by Donato Dozzy and slowed down to become a new, sexy, and enchanting tune. Egeeno's fluidity gives new soul to the piece and projects it right into the future. This is one of those pieces born during live sessions, even though the recorded version reflects the truth of the moment in which it was recorded. "Oro Rosso" comes from a summer session in which we decided to work on a song by a raw garage band called Gli Offesi. This is a song about submission, sexism, racism and eventually revenge, even though Lola Kola's singing opens up further interpretive scenarios. As for most of Pescheria sessions, guests can be very unpredictable, and here is Maria Violenza, the punk queen. "Bolla Napoli" is a journey through timeless sounds and feelings. From Neapolitan storytellers to the sublime world of Erik Satie with Lola Kola and Egeeno joining in a jam inspired by two classic songs "Maruzzella" and "Anema E Core" both combined with the unpredictable sound texture of the backing track.
RADIATION RECORDS (ITALY)
CAT #: RADK 7017CSEXPLOITED, THE Punks Not Dead Cassette
Radiation Records present a reissue of The Exploited's Punks Not Dead, originally released in 1981. Born of working class roots in Edinburgh, Scotland, The Exploited emerged from the punk underground in 1981 with the release of their debut LP, Punks Not Dead. A direct reaction to Crass' Punk Is Dead, The Exploited brought to the early '80s all the fire, speed, and attitude of 1977's first wave, with a street/Oi! swagger that was fresh. Peaking at #20 on the UK charts, Punks Not Dead was the best-selling independent record of 1981. Another essential piece of the UK Oi! scene of the early 1980s.
CAT #: RRS 017LPMAJOR ACCIDENT Massacred Melodies (White Vinyl) LP
Radiation Records present a reissue of Major Accident's Massacre Melodies, originally released in 1982. Formed in late 1977 in Darlington, UK, legendary punkers Major Accident were initially influenced by the Pistols and the Clash. A very sad fate befell their early studio activities: both their first recording sessions in 1980, which was supposed to be their debut single (Terrorist Gang/War Boots) and the following one, which produced a completely mucked-up, unusable first edition of this LP, remained unreleased for years. It took until late 1982 for their first proper release to see the light of day: produced by Donkeys guitarist Neil Ferguson, their debut album Massacred Melodies finally came out on Step Forward, supported by a full UK tour with label-mates Chelsea. The distinctive Clockwork Orange image (they were the first punk band to adopt the look from Kubrick's famous movie, which was banned in the UK at the time and impossible to see anywhere) and their songwriting, by far more peculiar than the average UK82 punk band, allowed them to grow a sizable following, and their classic sleeve artwork by Paul Dillon started appearing on the back of more than a few black leather jackets. White vinyl.
CAT #: RRS 127C-LPBLOOD, THE Total Megalomania (Blue/White Vinyl) 2LP
Double LP version. Blue/white color-in-color vinyl. Legend has it that The Blood were "discovered" by Cockney Rejects vocalist Jeff "Stinky Turner" Geggus on the top deck of a bus in Charlton. What they were all doing on the South East London bus has never been fully explained! Still, it was Jeff who introduced Coming Blood (as they were then known) to Sounds journalist Garry Bushell and, suitably impressed, he offered them a spot on the fourth volume of the Oi! compilation series, Oi! Oi! That's Yer Lot (1982). It wasn't just the punk scene that took to the band, the more open-minded in the metal fraternity also embraced them, making them one of the first punk-metal crossover bands, equally at home with followers of the Anti Nowhere League or Motorhead. Though the initial career of The Blood may only have been brief, the two singles, 12", and album they released have all stood the test of time, many of the songs later covered by bands not even born when they were first recorded! Includes all their singles and rare early tracks, all remastered and packed with exclusive unseen photos, with liner notes by Business's bass player and Captain OI! mastermind, Mark Brennan.
CAT #: RRS 127LPBLOOD, THE Total Megalomania 2LP
Legend has it that The Blood were "discovered" by Cockney Rejects vocalist Jeff "Stinky Turner" Geggus on the top deck of a bus in Charlton. What they were all doing on the South East London bus has never been fully explained! Still, it was Jeff who introduced Coming Blood (as they were then known) to Sounds journalist Garry Bushell and, suitably impressed, he offered them a spot on the fourth volume of the Oi! compilation series, Oi! Oi! That's Yer Lot (1982). It wasn't just the punk scene that took to the band, the more open-minded in the metal fraternity also embraced them, making them one of the first punk-metal crossover bands, equally at home with followers of the Anti Nowhere League or Motorhead. Though the initial career of The Blood may only have been brief, the two singles, 12", and album they released have all stood the test of time, many of the songs later covered by bands not even born when they were first recorded! Includes all their singles and rare early tracks, all remastered and packed with exclusive unseen photos, with liner notes by Business's bass player and Captain OI! mastermind, Mark Brennan.
CAT #: RRS 159LPSEX PISTOLS Spunk: The Demos 1976-1977 LP
Pink vinyl. In the history of punk, the Sex Pistols reign supreme; the anarchic quartet changed the history of popular culture forever with their caustic rupture of rock, a mixture of shock and awe that gave two fingers to the establishment, kick-starting a musical revolution. Released a few months before their Never Mind The Bollocks debut, Spunk is a revelation, raw demos cut in late '76 and early '77 by producer Dave Goodman, with Glen Matlock's bass far more melodic than what Sid Vicious cut on Bollocks; this edition has bonus demos of "Anarchy" and "Pretty Vacant" cut at Denmark Street, as well as an unedited "No Fun".
CAT #: RRS 167LPEXPLOITED, THE Let's Start A War... ...Said Maggie One Day LP
Reissue on vinyl for the third album by the punk band The Exploited, released in 1983 through Pax Records. The title refers to Margaret Thatcher's decision to go to war over the Falkland Islands in 1982, suggesting that she did so almost on a whim. Let's Start A War reached the Indie Chart Top 10 when first issued in 1983, this album also includes the single "Rival Leaders" which hit No. 11 in the Indie Chart. A classic of the "UK82" hardcore punk sound that provides a blueprint for the decade of punk and metal to come, and all in the space of just over half an hour. Exclusive photo by Alison Braun. Includes folded poster.
CAT #: RRS 176LPENGLISH DOGS Forward Into Battle LP
Radiation Records present a reissue of English Dogs' Forward Into Battle, originally released in 1985. Formed in the northern market town of Grantham in 1981, hardcore punk band English Dogs swiftly built a reputation via demos, supporting Charged GBH and Discharge on early tours. After debut Invasion Of The Porky Men (1984), original vocalist Wakey was replaced by former Ultraviolent front man, Ade Bailey, the inclusion of Destructors' guitarist Gizz Butt pointing to the new metal direction fully mined on Forward Into Battle, Butt's flighty riffs lifting the thrash bedrock to further heights of melodicism. This key piece of archaeology is a must for all English Dogs fans, showcasing their glorious blend of thrash, hardcore, and metal. Includes 60x40cm folded poster.
CAT #: REP 056LPEASY ACTION Easy Action LP
"From the streets of the motor city, Easy Action carry on the fine tradition of Detroit rock, infusing it with a raw punk edge. For those unfamiliar, Easy Action is fronted by John Brannon, former vocalist for the highly regarded Laughing Hyenas and of early '80s hardcore legends, Negative Approach. On bass is Ron Sakowski, another Detroit punk veteran, bringing his experiences from The Necros and the Laughing Hyenas to the band. Guitarist Harold Richardson is best known for his experiments with the noise rock band Gravitar during the mid-90s, and drummer Jon LeMay rocked with Thrall before joining Easy Action. After two sold-out singles and many packed shows, Easy Action hooked up with producer Al Sutton (Detroit Cobras, Laughing Hyenas, Kid Rock) at Rust Belt Studios to unleash this self-titled debut LP, a scathing rock testimonial, stripped of pretense and vanity, honest and in your face!"
REQUIEM POUR UN TWISTER (FRANCE)
CAT #: RPUT 012R-LPTRIPTIDES Azur LP
Reissue of Triptides' Azur, originally released in 2015. Deluxe reedition of American indie psych-pop/surf rock band's fourth album. Blue, green and yellow 180 gram vinyl. Recorded in Bloomington, Indiana, before Triptides' relocation to Los Angeles and while their members were in college, the band's fourth album Azur released in 2015 evokes the fantasied landscapes of the Golden State with his long surf-friendly beaches of hot sand. This album is perfect for a hot and relaxed summer under the late sun. While properly settled in his contemporary indie-pop soundtrack, it also paved the band's way for a more sixties-in?uenced music. Azur remains one of their most accomplished work, a fan favorite that includes their hit single "Wake". For fans of Beach Fossils, The Beach Boys, Real Estate, Mac DeMarco, Tame Impala, Temples, Cleaners From Venus, Hoops, Sugar Candy Mountain. Edition to 500.
CAT #: RPUT 024R-LPVINYL WILLIAMS Opal LP
Reissue, originally released in 2018. Los Angeles-based visual artist and musician Lionel Williams was born and raised in a family of musicians -- he is the grandson of soundtrack composer John Williams. Since 2010, he has been releasing music as Vinyl Williams. After three albums released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick's Company (Into, 2015 and Brunei, 2016), Vinyl Williams joined French label Requiem Pour Un Twister for his fourth album Opal released in 2018. Throughout his art, both musical and visual, Lionel Williams explores the syncretistic territory between reality and dreams, between earth and space. "Music is a chance to transmute qualitative opposites into the center, to dissolve all illusions of duality," he says. Since chaos and disorder are an illusion, Vinyl Williams is trying to reach a new state of celestial harmony on Opal. The result is an album fueled with mysticism and space age utopia, ten kaleidoscopic lush pop songs that takes you into a transcendental journey. For fans of Unknown Mortal Orchestra, Toro Y Moi, Todd Rundgren, Morgan Delt, Mild High Club, Triptides, Homeshake, Connan Mockasin. Opal marbled vinyl; edition of 500."Lionel Williams' fourth album brings new melodic clarity to his kaleidoscopic variations on soft-focus psych pop, pushing his songs into the realm of pure, escapist pleasure" --Pitchfork."These songs are genuinely transportive, each one bursting with multiple mini-crescendos and a spectral beauty that at times feels almost vampiric" --The Wire."There were few albums released this year as colourful and dreamy as Vinyl Williams' fourth e?ort" --NME.
CAT #: RPUT 037R-LPVINYL WILLIAMS Azure LP
Reissue, originally released in 2020. Azure, Vinyl Williams' fifth album was released on French label Requiem Pour Un Twister in 2020. Azure marks a point of higher equilibrium for songwriter Lionel Williams, using far more restraint and speed than his earlier releases, as well as a concentration of unifying paradoxical qualities. Vinyl Williams' Opal (2018) was critically acclaimed and his earlier releases, Brunei (2016) and Trance Zen Dental Spa (2015) -- a collaboration with Chaz Bear of Toro Y Moi -- are fan favorites for their incessant bliss and driving rhythms. Vinyl Williams' live shows are a spectacle of pearlescent sights and sounds, with all of Williams' work combined and synchronized together in rapturous hyper-dimensional moments. For fans of Morgan Delt, Toro Y Moi, Ariel Pink, Part Time, Maston, Jacco Gardner, Arthur Verocai, Sunbeam Sound Machine, The Free Design, Curt Boettcher, Chris Cohen, Dungen. Orange marbled vinyl.
RHYTHM SECTION INTERNATIONAL (UK)
CAT #: RS 040D-LPMMYYKK Science (Yellow Marbled Vinyl) LP
LP version. Yellow marbled vinyl. MMYYKK's Science EP arrives at a time when the world needs it. The eponymous title track is about recognizing the power and connection that we all have to the cosmos -- and it feels like no coincidence that this body of work arrives in 2021. The EP balances universal themes with playfulness; asks hard questions relating to accountability and materiality whilst remaining musically cohesive and funky throughout. An exceedingly difficult artist to pigeonhole, MMYYKK (pronounced Mike) works concurrently within the realms of soul, jazz, hip hop, R&B and ambient; his sound equally indebted to his fellow west-coast natives Thundercat and Flying Lotus as it is to synth experimentalists Herbie Hancock and Stevie Wonder. Whilst MMYYKK operates as the multi-instrumentalist, vocalist, producer, and engineer across all six tracks, you can still hear the richness of improvisation musical collaboration involved in the making of this record, with numerous cameos from artists in MMYYKK's adopted hometown of Minneapolis as well as a feature from London's very own Demae. The city of Minneapolis, whilst not addressed directly in the lyrics, provided a backdrop like no other whilst this album was coming together. Being at the epicenter of such a tragedy had a profound effect on the formation of the EP... "The city was literally burning..." MMYYKK recalls as he goes on to explain that tackling themes such as police reform, reparations and accountability in his work is his way of taking a stand in the fight for justice. Despite the grief prevalent in the city, the EP exudes a complex "dopeness", executed so effortlessly it belies the skill involved in the process -- it's precisely this nonchalant cool that defines what Science means to the artist. While you can dissect the inspirations and trace the lineage of this body of work -- the result is singular. It's clear that Mychal Fisher, aka MMYYKK, is operating on his own terms, in a lane of his own -- and making it look easy. For fans of: The Internet, Thundercat, Flying Lotus, Moonchild, Robert Glasper, MNDSGN, Anderson .Paak.
CAT #: RS 040LPMMYYKK Science LP
MMYYKK's Science EP arrives at a time when the world needs it. The eponymous title track is about recognizing the power and connection that we all have to the cosmos -- and it feels like no coincidence that this body of work arrives in 2021. The EP balances universal themes with playfulness; asks hard questions relating to accountability and materiality whilst remaining musically cohesive and funky throughout. An exceedingly difficult artist to pigeonhole, MMYYKK (pronounced Mike) works concurrently within the realms of soul, jazz, hip hop, R&B and ambient; his sound equally indebted to his fellow west-coast natives Thundercat and Flying Lotus as it is to synth experimentalists Herbie Hancock and Stevie Wonder. Whilst MMYYKK operates as the multi-instrumentalist, vocalist, producer, and engineer across all six tracks, you can still hear the richness of improvisation musical collaboration involved in the making of this record, with numerous cameos from artists in MMYYKK's adopted hometown of Minneapolis as well as a feature from London's very own Demae. The city of Minneapolis, whilst not addressed directly in the lyrics, provided a backdrop like no other whilst this album was coming together. Being at the epicenter of such a tragedy had a profound effect on the formation of the EP... "The city was literally burning..." MMYYKK recalls as he goes on to explain that tackling themes such as police reform, reparations and accountability in his work is his way of taking a stand in the fight for justice. Despite the grief prevalent in the city, the EP exudes a complex "dopeness", executed so effortlessly it belies the skill involved in the process -- it's precisely this nonchalant cool that defines what Science means to the artist. While you can dissect the inspirations and trace the lineage of this body of work -- the result is singular. It's clear that Mychal Fisher, aka MMYYKK, is operating on his own terms, in a lane of his own -- and making it look easy. For fans of: The Internet, Thundercat, Flying Lotus, Moonchild, Robert Glasper, MNDSGN, Anderson .Paak. Limited edition LP version comes on yellow marbled vinyl.
CAT #: RS 047EPHIDDEN SPHERES You Are Not Your Body LP
Back in 2015, Mancunian DJ and producer Hidden Spheres aka Tom Harris joined the Rhythm Section family for the label's twelfth release. Storming into 2022 and approaching 50 releases, Tom has a long overdue return to the label with a synthesis of electronic house vibrations. You Are Not Your Body is a stellar collection of five tracks, which touch on the sensations of euphoria and the blissed-out intersection between early prog and Detroit House. Channeling energies for meditation and self-love, things kick off with "Improvisation" an electro infused eight-minute workout, whilst "Euan 92" is a festival-defining "hands-in-the-air" anthem tried and tested by Bradley Zero on the road throughout 2021. "Love Your Body" is a delightful disco-esque chugger reinforcing joyful energies and an infectious bassline to keep you wiggling on the dancefloor. Things come to a close with a spaced-out Balearic house remix by RS family favorite Ruf Dug. For fans of: Oscar Jerome, Ross From Friends, DJ Boring, Asquith, Seb Wildblood, Baltra, Late Nite Tuff Guy, Session Victim, Contours.
CAT #: EZRDR 136CDVA Brown Acid - The Fourteenth Trip CD
"Here's just a few of the gems on Brown Acid - The Fourteenth Trip, the much beloved series that is the Nuggets of proto-metal, pre-stoner rock: The Legends' 'Fever Games' is a 1969 fever dream of heavy psych on par with Blue Cheer at their heaviest, featuring an incredible intro with whammy-bar gymnastics through an Echoplex. This Harrisburg, PA power trio, featuring Dan Hartman (Edgar Winter Group, et al) and his brother Dave, also name-checks Jimi Hendrix Experience in the midst of the song's most blatant Hendrix rip. Perhaps that's how Fever Games work? Transfer's velvet smooth groove has an almost proto-punk feel like a mashup of the Velvet Underground and The Flamin' Groovies. But the lyrics referencing tokin' reefer and the twanging surf lead situate them closer to their heavy rock brethren. This very rare 1974 self- released 45 is this lone archive of the band's existence -- assume they just kept right on playin' it cool into oblivion. Cox's Army deploy the grungy rocker 'I'm Tired' which sounds like if Jimi Hendrix fronted Mudhoney. Yes, please! Though they hailed from Aurora, IL, it sounds like there's definitely some Pacific Northwest in their blood. Particularly in the gritty production, which hints at The Sonics' 'bustin' outta lo-fi' style. Not much is known about the enigmatic Columbus, OH musician known as Raven, whose 'Back to Ohio Blues' closes this edition. The mantra-like droning riff of this eight-minute jam is a Black To Comm-style epic, driven by Raven's hostile, no-bullshit diatribe until it all busts open for an insane two-minute long drum solo soaked in odd effects that sounds like it was copped from a Melvins album."
CAT #: RM 4158LPIRISARRI, RAFAEL ANTON Agitas Al Sol LP
Rafael Anton Irisarri's works from Room40 have always dwelled in a place of pressure. His low frequency excursions have charted out a unique voyage into a territory in which texture and density are equally matched to create a visceral, but ultimately comforting zone of entanglement. At the same time as completing his Solastalgia edition (RM 4105LP), Irisarri recorded Agitas Al Sol. Like its sibling work, this album is an enveloping sonic drift that traces across the unsteady topographies of the Anthropocene. It moves in deep exhales, drawing from within and pressing outward into a sound vista that is effortlessly deep.From Rafael Anton Irisarri: "It's sometimes hard to go back and speak to work that was made in the past. Things change, but they also stay the same in some ways. I feel this strongly coming back to these pieces. Agitas Al So was a companion suite of materials that was composed alongside my album Solastalgia. For those with a keen eye for wordplay, they might notice each title is an anagram of the other. In some respects, this is actually a very fitting sonic analogy too for the pieces from the two records. They mirror each other in various ways, harmonically in the very least, but they also share the same deep sense of pressure that forged them so acutely. To come back to these pieces, I was struck by how much they expand on the ideas contained in Solastalgia. Where as Solastalgia might have been me breathing in, this set of pieces is a deep, deep exhale. Remember to breath."Rafael Anton Irisarri is a composer, record producer, and mastering engineer living in New York. Irisarri's compositions field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound. His most recent album for dais records, peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri's melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at odds with, yet gracefully complement each other.
CAT #: RM 4168LPBERIDZE, NATALIE Of Which One Knows LP
Of Which One Knows is a collection of works by Natalie Beridze that sit outside the easy categorization of "album". They are of course, an album, but they are more than that, in that they represent a kind of multiplicity in sound, an accumulation of experience, of emotion, of life, transposed into sound. It is only together that the stories that sit between them might start to be assembled. Spanning a decade and a half, these works chart a trajectory of investigation and curiosity that charts the very edges of Beridze's intensely personal compositions.From Natalie Beridze: "Of Which One Knows, was written and produced between 2007-2021. Such unreleased material is a quintessential backdrop to an artist's processes, as it has obviously never landed in any full bodies of work. It does however gain humble significance, which feels approachable, which is about absence and hence always fresh, drifting somewhere between remembrance and obliviousness. I see sound in smells, maps and mischievously put random words in poems, as they provoke pivotal subconscious algorithms in me. These tracks are the portrayal of those feelings. Anterior memories; Layer upon layer; Petrichor -- a smell of first rain; In spring; Jupiter Florida; I'm in beauty Kentucky; In paradise Miami; I'm in cut off Louisiana; In why Arizona; Sea of moisture moon; I am the memory of. Every blissful moment of the divine process of music-making, that goes back to a sacred process of a child at play -- a burning response to the intensity of the neigh to invisible blueness of half-formed ice. The span of time for this music reminds me of my dad's studio. Infinite thick wooden drawers that crackle clack, bounce clatter, peal, rattle the same way as before. There is no decay crumbling, perishing or rot in the objects inside. Clippers, liner pens, tracing paper, cutters for grown-ups, unused razors and their tiny spare blade packs, tapes, compasses, leather and metal roll meters, are all intact. Random snapshots, outdated student ids and driving licenses in leather sliders, letters, postmarks, piled up separately in intense small section drawers. All's in perfect order. All intact. Layouts, house models with tiny tables and chairs and swimming pools with people inside, others by the fireplace, some holding cocktails, others reading books- are very dusty, smelling of glue and cardboard, all intact. Some stacked one on top of another, others unfinished on the modelling table under the stained swinging arm desk lamp."
CAT #: ROTOR 063CDBONAPARTE'S, THE Shiny Battles CD
Rotorelief present an expanded reissue of Shiny Battles by The Bonaparte's, originally released in 1985. The Bonaparte's trio was born after the split of two bands, Kan Ji Zai founded by Pat Griffiths from 23 Skidoo, Ruben Azca, and Baroque Bordello. According to Giri, the boss of the Gibus, the punk public usually became agitated sitting very attentively at the Kan Ji Zai gig on October 4th, 1983. In 1984 after their first record the EP Today, the drummer Prad and the bass player Pix from Baroque Bordello founded together, along with Ruben Azca from Kan Ji Zai, the band The Bonaparte's, initially to be ephemeral for a gig that should have been unique at the Opéra Night programmed by La Sébale with three tracks: "Battle Of Iena", "Waterloo's Front", and "Shiny Light" played in one single sequence. The trio was extended with a guest saxophone player Lazslo. The audience didn't expect such a band and was very surprised, encouraging the band to go on. And that's what they did, two of the members of Baroque Bordello were asked to leave the band and Pat Griffiths joined them. The Bonaparte's were born. Shiny Battles was created a first mini-album in the Studio Garage in 1985. This mini-LP is a marvel as it associates the pure tradition of the French coldwave bands adoring the bass with high-level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees -- The audio reissue by Rotorelief proposes the mini-album Shiny Battles with six unreleased bonus tracks. In 1985. The first mini-album Shiny Battle in the Studio Garage. This mini-album is a marvel as it associates the pure tradition of the French cold wave bands adoring the bass with the high level British artistic quality influenced by the best of the post-punk scene: The Cure, Siouxsie & The Banshees. Regular CD with deluxe DVD style packaging. Includes six unreleased bonus, instrumental versions.
CAT #: ROTOR 071IVO-LPBERROCAL, JAC Musiq Musik (Ivory Vinyl) LP
LP version. Ivory vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster.
CAT #: ROTOR 071LPBERROCAL, JAC Musiq Musik LP
Rotorelief present a reissue of Jac Berrocal's Musiq Musik, originally released in 1973. First album of Berrocal, recorded in 1973 with excessive reverberations of the crypt of the church Saint-Savinien in Sens, is a real notebook of sound travels, of instruments reported by Jac Berrocal and Roger Ferlet during their numerous journeys: Pakistan, Afghanistan, Nepal, India, Jordan, Iraq, Syria; with various instruments: bells, muezzins, conches, shenaïs, cymbals, gongs, embellished with urban and incongruous sounds: horns, whistles, chickens, harmonium, and washing machine, the all installed on a kiosk. The idea? Make music together, Jac Berrocal, Roger Ferlet, Dominique Coster. 200 gram vinyl; numbered and limited edition of 99 copies.
CAT #: ROTOR 072LPBERROCAL, JAC Paralleles LP
Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period. 200 gram vinyl; numbered and limited edition of 99 copies.
CAT #: ROTOR 072PIN-LPBERROCAL, JAC Paralleles (Pink Vinyl) LP
LP version. Pink vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Paralleles, originally released in 1976. Paralleles 1976, Vince Taylor, the Black Archangel of rock n' roll, agrees to come and record "Rock'n Roll Station", a piece of futuristic clinking of a bicycle wheel. Other sessions contrary to custom, a pigsty with microphones mired in the middle of unruly pigs, towels shaken by Pierre Bastien in the middle of this "bric-a-brac" a noisy piece in homage to Luigi Russolo repertoire reorganized by bonuses and unpublished from the same period.
CAT #: ROTOR 073LPBERROCAL, JAC Catalogue LP
Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave. 200 gram vinyl; numbered and limited edition of 99 copies.
CAT #: ROTOR 073PUR-LPBERROCAL, JAC Catalogue (Purple Vinyl) LP
LP version. Purple vinyl. 200 gram vinyl; numbered and limited edition of 99 copies. Rotorelief present a reissue of Jac Berrocal's Catalogue, originally released in 1980. Jac Berrocal and his "marquises of disorder" make the guitars rattle in primrose-sprayed vomit, patchwork of uncontrollable slows, furious accordion (Claude Parle) and martial rocks. Kind of "micro-cinemas put end-to-end", a maelstrom of cries and saturation which, paradoxically, an album that is worth the respect of the punks and the contempt of jazz purists. Berrocal is certainly the only French cousin of New York's no wave.
CAT #: ROTOR 076CDBEUYS + PISSOFF Creamcheese Dusseldorf - 1968 CD
The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann. CD version comes in deluxe DVD style packaging.
CAT #: ROTOR 076LPBEUYS + PISSOFF Creamcheese Dusseldorf - 1968 LP
LP version. The experimental project Pissoff was founded in the late '60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud, and, sound-wise, undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continuously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ, and drums. In 1968, Pissoff performed together with Joseph Beuys, who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Handaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet, and tenor saxophone while the other members added sounds by electric guitar, electric bass, and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff. Music, recording, production: Eberhard Kranemann.
CAT #: ROTOR 077CDNURSE WITH WOUND Gyllenskold, Geijerstam And I At Rydberg's CD/BOOK
Deluxe art book CD of 24-pages, sewn; all artworks by Babs Santini. "This 1983 period in which Gyllensköld was recorded was a fantastic time for the evolution of Steven Stapleton's audio art. His collaborations with Diana Rogerson, Robert Haigh (Sema), David Tibet, and Thirlwell around this time elicited some of the most exciting work Nurse With Wound had yet recorded. Listen to this material and compare it to Chance Meeting and it becomes clear that in just a few years, Stapleton's art had grown by leaps and bounds. The production quality on these tracks is remarkable, and the widening out of the NWW soundworld opened up a whole new audio toybox that Stapleton has continued to experiment with up to today. This new sound encompasses vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse, but always oddly indefinable and puzzlingly misshapen. In retrospect, Gyllensköld can be seen as the beginning of the 'mature;' period of NWW, and thus it is an indispensable release for fans of the project. Perhaps influenced by the obsessions of his friend and collaborator Tibet, Stapleton also began weaving religious and occult references into his usual name-dropping of avant-garde artists and movements . . . NWW's Gyllensköld comes across at times as the soundtrack to a schizoid episode: disembodied voices intoning nonsense, floating subliminally across the stereo channels, or cackling in evil delight. The sounds are denser here than on earlier works such as Homotopy To Marie. Areas of silence are mostly gone, replaced by layers of drone, cartoonish noises and mutated voices. 'Several Odd Moments Prior to Lunch' opens the brief album, setting the stage with its lysergically altered vocals and a frightening, yawning chasm of haunted, spectral sound. Stapleton, Thirlwell, and company learned how to wield the studio like an instrument on these and other recordings of the period. Effects such as reverb, delay, ring modulation and backwards tracking are utilized to create evolving textures and darkly psychedelic dreamspaces. 'Phenomenon of Aquarium and Bearded Lady' utilizes a number of instruments, including horns and piano, to create a bizarre dislocated funeral dirge in which the sounds of a slowly cycling jack-in-the-box are not out of place. For fans of musicians like Jacques Berrocal, who prefer their free jazz with a heavy dose of whacked-out eccentricity, this is about as good as it gets. 'Dirty Fingernails' is something else entirely, a longform exploration of outré textures, combining mysterious trebly noises with percussive bleeps of mysterious origin." --Brainwashed
CAT #: ROTOR 078LPSCHNITZLER & PHARMAKUSTIK, CONRAD Schubkraft LP
Kontraktion (ROTOR 051LP) and Extruder (ROTOR 066LP/CLR-LP) are the results of various tape-sessions by Conrad Schnitzler and Siegmar Fricke in Con's former studio Leberstrasse in Berlin. The soundscapes on both records (produced in November 1986 and July 1987 with EMS-Synthi A, Korg MS 10 + MS 20 + delays) contain all the machinist energy and infernal industrial sound-eruptions similar to Conrad's first three albums Schwarz (BB 112CD/LP), Rot (BB 102CD/LP), and Blau (BB 103CD/LP) and to the rumbling train wheel rhythms of Zug (MINIMAL 001LP) (from the Red Cassette 1974). The albums also carry the spirit of the first Cluster album (released in 1971 on Philips) due to the imposing brutalist elements and uneasy sci-fi atmospheres. Schubkraft, the third and final album of the Schnitzler/Pharmakustik-
CAT #: ROTOR 079CDURBAIN AUTOPSY Inonu 2CD
Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal. Double-CD version comes deluxe DVD style packaging.
CAT #: ROTOR 079LPURBAIN AUTOPSY Inonu 2LP
Double LP version. Inonu is the last collaboration between the three founding members of the industrial band Urbain Autopsy, originally released in 1988, in a box containing two C40 tapes, a booklet and a leaflet on the now defunct Tears Compilations label. Inonu is a concept album, it is divided in four acts, themselves divided in scenes, and as it is a story there is no dead time between each scene. The pieces follow one another like in life. Inonu tells a slice of history of the life of an imaginary totalitarian country, which could make think of an ex-Eastern country, who knows? It should be noted that Inonu was published one year before the collapse of the communist bloc... One can also compare the architecture, the constructivist art, and the industrial music of Urbain Autopsy and notice the osmosis that emerges. Some names have been picked at random from an encyclopedia. Their realities have no relation with the fiction transmitted in Inonu. The story that begins is known... Act 1: It tells the story of a country dominated by a dictator, with the recurrent theme of "an iron fist" and that of an oppressed people; Act 2: Two revolutionaries form a coalition to eliminate the dictator and begin rebuilding the country; Act 3: One of the two revolutionaries, having more desire for sole power, eliminates his friend and takes over the reins of the country by force; Act 4: The phrase "the snake that bites its own tail" is used again, and over time he becomes a new dictator with the same problems as before. The imaginary and the factual collide in the present. This musical concept generates a futuristic collaboration between the musicians, the illustrator and the editor of this double album. What a visionary look the group Urbain Autopsy had in 1988 when they conceptualized a fictional reality, one year before the fall of the Berlin Wall in 1989, the dislocation of the USSR in 1991, the Balkan Wars of the 1990s, these transforming states into myriads of micro-states, often implying a rise of authoritarianism. So today, in this year 2022, this incomprehensible or programmed war (each one will choose) between two European countries, can we see a vision in it? See the subtitle of Act III: "The Fratricide". Illustrations by Enki Bilal.
RUNNING BACK INCANTATIONS (GERMANY)
CAT #: RBINC 008LPPANORAM Acrobatic Thoughts LP
"Sybilline", "unique", and "peerless". These are some of the adjectives that were used to describe Everyone Is A Door, Panoram's first full-length on Edinburgh's Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom, and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on Sub Pop. But Panoram can also hold its own very well. His debut on Running Back's Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies, and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines. Short: Seabrains controlled by beautiful engines.. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes. One LP to make millions happy.
CAT #: SHR 209CDWOODS, BEN Dispeller CD
"On Dispeller, Ben Woods's beguiling new album, his intimate experiments in rock paint a vivid portrait. Here, the New Zealand artist leans comfortably into intuition and abstraction. Expansive arrangements are anchored by heavy-lidded prose, while carrying the air of the portside shack it was made in. Dispeller was recorded throughout a year in Woods's hometown, Lyttelton, with Ben Edwards (Aldous Harding, Marlon Williams, Julia Jacklin) at the helm of the mixing console and co-producing. Utterings, footsteps, and the rattles of the room linger beneath the album's dense instrumentation, alluding to the familiar space the songs were captured in. Here, Woods's songs breathe and flourish into their own worlds. 'I found my voice in trying to make atonality croon,' he says. 'With Dispeller it was less about harmony -- the blend was capturing the songs very honestly in the room, and still making each of them to transport you somewhere different.' Even beside Woods's acclaimed debut, PUT (2019), which saw him sharing stages with Aldous Harding, No Age, Julia Jacklin and Steve Gunn, Dispeller enchants. The songs here are stronger, the instrumentation stranger. With chopped and screwed vocal contributions from underground hero Alastair Galbraith, 'Speaking Belt' snaps and pulses with the sordid clatter of a lost Xpressway single. Charlotte Forrester from Womb (Flying Nun) adds their diaphanous voice to 'The Strip And Punishing Type'. On fragile duet 'Wearing Divine', Lucy Hunter (Opposite Sex / Wet Specimen) threatens to steal the limelight, before a full hive of Marlon Williams's honeyed vibrato comes spluttering out of what sounds like a rusted can. Woods's melodies bring to mind Scott Walker's dramatic tunefulness, while his voice holds something of Gordon Gano's waver, pushed through New Zealand vowel mangling. Dispeller's arrangements hit at the subtle, reactive instrumentation of late-era Fugazi, the glowing murk of Grouper, the Antipodean-gothic drudge of Tall Dwarfs, and the mechanical outer crust of Sparklehorse. However, while Woods experiments with the disparate and the disharmonious, it is the open heart which elevates Dispeller. His voice holds the physical and spiritual middle; flirting with, but never succumbing to the splendor and turmoil which surround it."
SOUFFLE CONTINU RECORDS (FRANCE)
CAT #: FFL 062LP
FILE UNDER: SOUNDTRACKPOTTS, STEVE Musique Pour Le Film d'Un Ami LP
2022 restock. LP version. Souffle Continu Records present the first ever reissue of Steve Potts's Musique Pour Le Film d'Un Ami, originally released in 1975. In 1975, Steve Potts left Steve Lacy for a time to compose Musique Pour Le Film d'Un Ami following the proposition from the film's director Joaquín Lledó. With guest musicians of quality and from vairied horizons, the saxophonist recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognized way beyond the boundaries of La Défense. If you have never seen Sujet ou le secrétaire aux 1001 tiroirs (1975), Steve Potts will allow you to listen to it. The film was made by a friend of his, Joaquin Noessi, a pseudonym of Joaquín Lledó, for which the saxophonist composed the music in the mid-70s. It was recorded in Saint-Germain-des-Prés and Potts was joined by the musicians he played with regularly at the time with Steve Lacy (Jean-Jacques Avenel, Ambrose Jackson, Kenneth Tyler) but not just them... Because, on Musique Pour Le Film d'Un Ami, you hear funk musicians (pianist Frank Abel and percussionist Donny Donable, both also expatriates, who played in the group Ice), nimble French musicians (Elie Ferré and Christian Escoudé on guitars, Joss Basselli on accordion) and unclassifiable men-of-all-seasons (Keno Speller on percussion and Gus Nemeth on double bass). The production was assured by another iconoclastic figure: Jef Gilson. It was an eclectic team, and they made an eclectic album, as shown by the track titles. Steve Potts just has to shake it all up and let the notes pour out: modal, (even cosmic, jazz) free funk, dirty grooves, cool jam sessions, bistro boogie, java wah-wah... Musique Pour Le Film d'Un Ami is a shattering album of shattered atmospheres. Remastered from the master tapes. Restored artwork. Licensed from Steve Potts.
CAT #: SOUK 009LPSERPENTE Dias da Aranha LP
It is no surprise that the most populated Serpente record to date is also his most vibrant and emancipated. With collaborations from Maxwell Sterling, Kelly Jayne Jones, Pedro Sousa, Vasco Alves, and Gabriel Ferrandini, Dias da Aranha is a leap from previous releases like Parada (ELP 044LP, 2019) and Fé/Vazio (2020), both on Ecstatic. If you're keeping in touch with Portuguese electronic music, then Bruno Silva's music should be no stranger to you. If you've also been keeping tabs on his evolution throughout Souk's catalog, you'll notice how mature and resolved his sounds feels in Dias da Aranha. There's no restrain here, the beats evolve in a self-confident way and the way it assembles and incorporates other people's sounds is a bliss. Go straight to the last track, "Ritos de Poeira", and listen to how organic everything feels, the endless rhythm and how Pedro Sousa's saxophone is incorporated as a beautiful hopeful lament. Just put it on repeat. Bliss. You have never heard Bruno -- as Serpente or Ondness -- so sure of himself. Escapism is very present in his music. In the past the idea of searching for it was key, in Dias da Aranha he lives in it. It is daring and luminous, streaming a continuous beam of bright ideas, making sure that they find the right course on their own ("Meio Ondness"). It never stops, keeps evolving, getting better and finding ways to surprise the listener. In some moments you can listen to the music breathing. Or sense some kind of field recordings shape. It doesn't rely anymore on the idea of music as a work in progress. This is evolution. Welcome to the Serpente Era. Artwork by AJD and Bruno Silva. Mastered by Carlos Nascimento.
SOWING RECORDS (ITALY)
CAT #: SOW 020LPBLAKEY FEATURING BUD POWELL AND LEE MORGAN, ART Blakey In Paris LP
Sowing Records present a reissue of Blakey In Paris by Art Blakey featuring Bud Powell and Lee Morgan, originally released in 1961. This is Art Blakey and his Jazz Messengers, with guests Bud Powell (piano) and Barney Wilen (alto sax), caught live at the Théâtre des Champs-Élysées in Paris in 1959. At that time, Blakey's Messengers were no less than Lee Morgan (trumpet), Wayne Shorter (tenor sax), Walter Davis Jr. (piano), and Jymmy Meritt (bass). In other words, one of the greatest hard bop combos ever, a pool of great young individuals under the direction of one of the most influential drummers and band leaders in the history of Jazz. No need to add that "Paris Jam Session" is regarded as an essential release in Blakey's extensive discography. Clear vinyl.
CAT #: SV 176LPCONTORTIONS Buy LP
"Soon after their 1978 debut on the Brian Eno-produced No New York, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved -- getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's Buy, is a marvel of hot-wired energy. Led by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener 'Designed to Kill' shoots sparks of sound in all directions, while 'Contort Yourself' is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. 'It's better than pleasure, it hurts more than pain,' he snarls, later imploring, 'You better try being stupid instead of smart.' Heavily influenced by the showman funk of James Brown (whose 'I Can't Stand Myself' the band had covered on No New York) Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands -- including Place's Bush Tetras and Bronx trio ESG -- as well as the burgeoning disco movement. On Buy, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury."
CAT #: SV 178LPCRIME San Francisco's Doomed LP
"The legend of San Francisco's CRIME looms large among punk aficionados the world over. Formed in the mid-1970s, the band's dual-guitar sound, confrontational image and sleazed methodology still serve as inspiration decades later. With only a handful of singles released during their active lifespan, CRIME's legacy grew significantly as archival recordings began to trickle out in the early 1990s. Of all these excavations, San Francisco's Doomed was one of the first and certainly one of the most powerful. Culled from two studio sessions from 1978 and 1979, San Francisco's Doomed captures the frenzy of CRIME's sound in a fittingly loose, devil-may-care framework. The 1978 session is a gloriously unpolished assault of classic, gutter-level punk with vicious live set staples like 'Feel The Beat' and 'Piss On Your Dog' taking marquee placement over the more well-known singles tracks. The 1979 session finds CRIME taking aim at the so-called new wave, augmenting their attack with ripped odes that bear the direct influence of science fiction and rockabilly on the group. Few recordings from US punk's first wave match the raw intensity heard on San Francisco's Doomed. As Michael Stewart Foley writes in the liner notes, 'Unimpressed with the once idealistic counter-culture and all the bands associated with it, CRIME declared itself San Francisco's First And Only Rock 'N' Roll Band. Dressed in police uniforms and driving sonic ice picks through listeners' eardrums with the volume cranked past 10, they looked more like a street gang that might take your wallet and slash your face with a switchblade just to watch you bleed. But despite the band's best efforts to stand apart, CRIME could have come from nowhere else, at no other time.'"
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 044LPMAY BLITZ May Blitz LP
Survival Research present a reissue of May Blitz's self-titled album, originally released in 1970. Obscure hard rock power trio May Blitz spun off from British blues-rock act Bakerloo, but after founding members quit to join Vinegar Joe, Uriah Heep, and Colosseum, lead singer/guitarist Jamie Black recruited fellow Canadian Reid Hudson on bass, scoring a major coup when Tony Newman joined on drums, following stints with Jeff Beck, The Hollies, and Sounds Incorporated. Their self-titled debut, released on Vertigo in July 1970, is heavy psych with a blues underpinning that edges toward metal, an overlooked gem that will appeal to all who like their rock down 'n' dirty, trippy and bluesy, hard hitting and free from excess. Gatefold sleeve.
SYSTEM REVIVAL RECORDINGS - MINOR SETBACKS (LEBANON)
CAT #: SRRMS 001EPHEADLESS HORSEMAN Semblance + Remixes 12"
Headless Horseman, known for his sophisticated, experimental and adventurous productions and sound design has been a regular performer (live and DJ) worldwide since 2014. Not often seen on others labels, this original track featured was originally made as a direct support for a various artists digital compilation called Beirut Will Rise Again for charity ahead of the horrific port explosion in Beirut in 2020. Kind enough to agree to the track being featured on the 001 release of a new series of the System Revival Recordings label called "Minor Setbacks" -- a reflection of the struggles everyone has been facing over the last three years with the global pandemic and various ongoing social and humanitarian crises in the Middle East and beyond. Stepping up in support of this project and offering a beautiful alternative takes of the original track are two pioneering artists, Berlin's boundary breaking hero, Monolake and one of Detroit's highly influential figures over the last two decades, Erika.
THE WIRE (UK)
CAT #: WIRE 461
FILE UNDER: MiscWIRE, THE #461 July 2022 MAG
"AMM: For 50 years, Eddie Prévost, Keith Rowe and John Tilbury have had their sights set firmly on sonic freedom, changing the landscape of music in the process. By Clive Bell. AMM mini-Primer: A user's guide to the group's recent recordings. By Seymour Wright; Angharad Davies: The hardworking violinist and improvisor finds inspiration for her time dissolving recordings and performances through interpersonal connections. By Abi Bliss; UnicaZürn: Veteran industrialists Dave Knight and Stephen Thrower pour two lifetimes of experience into their dystopian stew. By Rob Turner; Invisible Jukebox: Hannah Catherine Jones: Will the UK composer be reduced to a Foxy Moron by The Wire's mystery record selection? Tested by Meg Woof; Unlimited Editions: Nh?c Gãy; Unofficial Channels: Tape Archives; Opal X: Harsh beauty from former Paper Dollhouse denizen. By Claire Biddles; Nexcyia: Producer Adam Dove gives it the old collage try. By Rob Turner; Teresa Winter: Sea salt memories from the Yorkshire based composer. By Louise Gray; K Of Arc: The beauty and horror of Kevin Craig's electronic fog. By Emily Pothast; Global Ear: Washington, DC: DIY still thrives in the hardcore heartland. By Jonathan Williger; The Inner Sleeve: Sarah Davachi on Genesis's Trespass; Epiphanies: Pamela Z picks up the phonemes."
THREAD RECORDINGS (UK)
CAT #: THREAD 001LPDBH Mood LP
LP version. 2015 release. dbh is Daniel Bridgwood-Hill, a composer, guitarist and multi-instrumentalist based in Todmorden, West Yorkshire. He is perhaps best known for playing all manner of instruments with the bands of Kiran Leonard, Irma Vep, and Jim Ghedi. As dbh, he plays live and records albums of solo instrumental music, primarily on acoustic and electric guitar. Released in 2015, Mood is dbh's second album of solo instrumentals. It follows his debut, Time Flies (Crowfoot Records, 2013). It was recorded and mixed by Karl Sveinsson at Queens Ark Audio, Manchester, and mastered by George Atkins at 80 Hertz Studios, Manchester.
CAT #: TSR 043LPIGARASHI, SHOKO Simple Sentences LP
Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently living in the most quintessential European city, Brussels. Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life. The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that add seven more to the originality of the sound. Take, for example, "Apple Banana" -- echoes of Chiemi Manabe, Hosono, and even overtones of Akiko Yano are all seamlessly there. "Sand Dungeon" is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled "Anime Song" could be an unreleased track from Testpattern's infamous and sought-after LP. "Lovely Song" in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world. "CASH OK" harks back to New York's '90s jazz street scene, paying tribute to her Brooklyn live gigs, and album closer "Tsuki No Yama" goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries. Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes you wonder how Shoko managed to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.
CAT #: TRESOR 333EPTORUS 333 Mirrors 12"
Tresor Records announce 333 Mirrors from Torus, the artist alias of Joeri Woudstra. Coupled with its catalog number "333", it indicates the large-scale conceptual thoughts behind the record, typical of Woudstra's practice. As an artist, he sets out to frame re-interpretable references that trigger some subconscious recognition in listeners, with no set way to interpret them but leading to singular feelings and thought processes. The effect, a combination of static electronic sounds and looser field recordings, speaks to each listener differently. 333 Mirrors is, in part, the continuation of a project called "These Cars Do Not Exist", made with videographer Mark Prendergast during the Covid-19 limbo. The live performed short film sold out selected pop-up cinemas in 2020 in a short sprint of shows. Two of the tracks on that project, "Sound Of The Drums" and "Chroniko", are re-imagined on 333 Mirrors, emanating as versions created in live performances. Set to be released as a single, "Chroniko VIP" will be accompanied by an enduring theme from that project, the three-winged bird, this time deceased. On 333 Mirrors, in exploring the ambient, stretched sonic universe of this project more, Woudstra moves from these three-winged birds to the phoenix, finding a rebirth on the B-side with tracks that inhabit a similar sound as "Deep Mid", Torus's inclusion on the recent Tresor 30 compilation (TRESOR 330LP). The sound of Torus places importance on the multi-faceted approach to sampling, pushing the idea behind the practice beyond usual boundaries. How to break the unwritten rules? Woudstra looks within by resampling previous Torus releases and reverse-engineering the sounds of the most revered pop and electronic musicians alive today, references that trigger recognition, melancholy, and nostalgia in the listener. "3000 Mirrors" features a staccato arpeggiating rigid pattern, the sonic effect of standing in front of a strobe until it becomes the anchor. Silence and interruption are used as a device to explore the physically uncomfortable, more the central compositional tool than the disrupted harmonic structures. Woudstra has never stepped foot in Tresor, so when writing this record, an enduring question spoke to him, what is Tresor when you have never been? How do you sample the essence of an unknown location? The closing track, "Omnia", is the sound of anticipation, where the rave beckons. This imagined industrial space is calling for you. 180 gram viny; T30 obi strip; full printed sleeve.
CAT #: TRESOR 335EPJENSEN INTERCEPTOR X DEFEKT Free Your Mind 12"
Free Your Mind is dedicated to everyone dealing with hidden illness. Free Your Mind is dedicated to anyone processing loss. Free Your Mind is dedicated to those who give new meaning to old ideas. Free Your Mind is dedicated to everyone who finds their strength in the sound. Free Your Mind is dedicated to those willing to listen. Free Your Mind is dedicated to those who want to learn. Free Your Mind is dedicated to escaping what's holding you back. Free Your Mind is dedicated to letting go. Free Your Mind is dedicated to alien perspectives. Free Your Mind is dedicated to Detroit and the pioneers of electro. Free Your Mind is dedicated to Elizabeth Flanagan.
UPSET THE RHYTHM (UK)
CAT #: UTR 130LPNORMIL HAWAIIANS Dark World (79-81) LP
LP version. 180 gram vinyl; gatefold sleeve with booklet; includes download card with eight bonus tracks included on CD version. Dark World collects together choice material from Normil Hawaiians' formative early years of 1979-1981. Tagging along with the band from their peppy post-punk origins (so brilliantly debuted on "The Beat Goes On") into the looser, dubbier territories that laid the foundations for the group's landmark album More Wealth Than Money. Dark World gathers the group's energetic 7" singles on Dining Out and Illuminated Records, their metamorphic Gala Failed EP (Red Rhino) and a lively last-minute Peel session from 1980, alongside outtakes, rarities, and demos. During this feverish time, founding member Guy Smith was motivated to make music that reveled in always trying out different things. Normil Hawaiians was a very fluid ensemble at this point, Guy often accompanied by Kev Armstrong and Jim Lusted encouraged saxophones, violins, synths, pianos and a select pack of female backing singers to take their post-punk sound into wilder directions. One of the earliest line-ups of Normil Hawaiians featured a 15-year-old Janet Armstrong on vocals alongside Guy, "Ventilation" best showcases her deadpan digressions. Janet went on to sing alongside David Bowie a few years later on his breathtaking mid-80s gem "Absolute Beginners". By this point Kev Armstrong was also guesting for Bowie on guitar duties too. Another guest to join the ranks of Normil Hawaiians during this fertile time of cross-pollination was Bertie Marshall (aka Berlin of the proto-punk Bromley Contingent). "Sang Sang" is a good example of how he was inspired to deliver his poetic treatises over the band's atmospheric, floating improvisations. Bertie's impressionistic influence helped the group uncouple further from rock tropes, as they became restless and more rhythmically-focused. "Still Obedient" fidgets, soars and careens across the dancefloor. By the end of this transformative two years Normil Hawaiians had spun an exceptional chrysalis around themselves. The dark world surrounding wouldn't win out, they'd eaten-up the music and grown continuously, wrote and recorded rapidly, covered Zappa and even David Lynch and could feel the light beginning to shine through. Dark World is a snapshot of a band in flux, finding their feet, stretching their limbs. Normil Hawaiians cover an awful amount of ground in such a short time-frame on this record and these tracks document all the glittering debris from their magpie's nest. Emergent, hopeful and resistant in sound and ethic.
CAT #: UTR 148EPSCREENSAVER Clean Current/Repeats 7"
"Clean Current" nods its head to likes of Snapper and '80s Flying Nun bands whilst "Repeats" owes its origins more to the progenitors of goth-rock. Naarm/Melbourne four-piece Screensaver is back with a double A-side 7" single just six-months after delivering their ten-track debut album Expressions Of Interest (UTR 141LP, 2021) on Upset the Rhythm (UK) and Heavy Machinery (AU) to positive international response. The album has also been a regular feature on Henry Rollin's KCRW Santa Monica radio show. The band return with two distinctly different tracks that extend upon the blend of post-punk, new wave, and synth-punk on their debut. Side A, "Clean Current" is a burst of high-energy: nervy guitars and groovy bass underpinned with krautrock drums and cosmic synth noise, overlayed with delay heavy vocals. "Repeats" is the flipside of the coin, a moody post-punk stomper, led by gritty sawtooth synth, chorus-soaked guitar, textural percussion, and soaring vocals. Lyrically, "Clean Current" spits out retorts aimed at the engulfing nature of anxiety whilst "Repeats" critiques the repetition of modern life, languishing human existence. Limited edition fluoro yellow vinyl.
CAT #: UMA 160LPMERZBOW Magnesia Nova 2LP
Exquisitely recorded and mixed between February and May 1995 at ZSF Produkt Studio, Masami Akita's home studio from the late '80s to late '90s, Magnesia Nova is stunning immersion into the world of Merzbow during one of the project's most engrossing and important period. Inspired by the intersections between Greece and Japan and between Western and Eastern civilization along with work of Athanasius Kircher (all of the track titles have been taken from Kircher's works), is a true blasts of noise, meticulously crafted into gorgeous sound collages. For the first time that this seminal document from Merzbow's '90s period has ever appeared on vinyl, in double LP, featuring last side of second LP with 20 minutes of unreleased bonus track took from the same period of the recording sessions. Like all of his work since the early nineties, Magnesia Nova is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early '80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise. The album begins with "Rituale Lucis" and "Magnesia Nova", a parade of overloaded, layered and pulsating synthesizers and feedback. Two minutes are enough for the artist to take us to the territories of the most creative experimentation in the history of noise. There are sounds from a parallel universe suspended in time and straight out of an old amp that mumbles before going back to freaking out with synth razors. The sounds are unlike anything else played before or after. You find yourself in the world of dreams and the rhythm of the sound construction thickens, until the great progression of eternal noise materializes. On the second side of the first record the crashes of noise return and the gates of primordial chaos open with "Oedipus Organum", while "Specula Naturalum" comes to an end, as if it had never begun: perhaps it has been there since the beginning of time, an explosion of synthetic sounds, which seem like the spatial drifts for minor chords by Klaus Schulze. The second record open with "Pantometrum Erotica" that begins with a dark modulation, where an obsessive rhythm alternates with screams of noise and the now familiar synthesizer sound and continue with "Sphinx Mystagoga" where everything collapses into a single otherworldly synthesizer voice that explores an uninhabited planet. Magnesia Nova is a stunning piece of work, that blur the boundaries between pure noise, performance and experimental music. Redesigned reverse cardboard gatefold sleeve LP with original paint art by Masami Akita; edition of 299.
CAT #: UMA 161LPINCAPACITANTS Quietus LP
First time vinyl reissue. Few projects can claim the seminal importance of the Incapacitants on worldwide noise scene. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Later Mikawa moved to Tokyo, where he joined with Fumio Kosakai, also an occasional member of Hijokaidan, as well as a former member of C.C.C.C., to make Incapacitants a duo. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. Almost thirty years have passed since the first publication of Quietus. Is the fourth Incapacitants album released on Alchemy Records and along with Feedback Of N.M.S. has definitively consecrates them as the "Gods of Noise". "No Risk, No Return" fills completely side A, and it's just uncontaminated, pure electronic distortion of the highest quality: exciting, frightening, hypnotic and fascinating all at the same time. Side B open with a small noise gem, furrows that precede the intensity and the noisy purity that will characterize all the production of the Incapacitants, titled "Backfire". And then comes the masterpiece "Goby Fishing", whose sound is particularly exciting, agonizingly dense and full of detail, with thrilling psychedelics feedback and sonic bulldoze, all sounding crystal clear. It's the perfect soundtrack for your lake holidays or, for anyone with an inkling of interest, it's a wonderful time capsule from the Golden Age of Japanese Noise. A highly sought-after milestone in noise music -- bridging rigorous practices of experimentation and highly refined elements of power electronics and hold countless revelations for anyone yet to encounter their wonders first hand. Incapacitants create inexhaustible chaos verging on the sublime, and take you on a truly excruciating journey toward catharsis. This is truly the spirit of noise: no macho posturing, no pseudo-intellectualism, no "rocking out", no pretense! Fully remastered; edition of 199 copies.
CAT #: UMA 162LPSOLMANIA Erosion LP
Reissued for the first time on vinyl. Formed in 1984, Solmania is a music experimental project of Masahiko "Masaki" Ohno and is one of the earliest amazing noise projects out of Japan. Pushing far beyond expectations of free improvisation, Masahiko weaves blistering passages that incorporate touchstones from progressive, punk, metal, noise, and drone, into more intricate movements of dystopian avant-gardism, culminating as a strikingly forward-thinking expanse of sonic creativity that pushing toward uncharted ground. Erosion captures an astounding concert at Eggplant, in Osaka May 15th, 1987, recorded at the venue, using guitar, tape, radio, metal, turntable, and voice and published on cassette by Solmania own legendary label Fatagaga Tapes the same year in very limited edition. Vinyl is comprising a single, extended work over two sides, for about 30 minutes where the artist dives into one of the most joyous and tense musical expressions to have emerged during that decade, generating dense, trance-inducing guitar drones that seem to touch the eternal, washing the ear in rich overtones and harmonics embellishments that transcend their sources -- the original instrument -- in uncanny ways. While unquestionably a work of free improvisation, bordering on noise, Erosion is particularly noteworthy for how far it often strays from the expected tropes and syntaxes of that idiom. Intricate and delicate movements, the artist weaves moments of profound catharsis into moody passages that are permeated by images of dystopian sci-fi - driven by the sounds of guitar -- creating a soundtrack for an ever darkening world, while managing to retain all the hope and optimism embodied by a creative territory and language that activates conversation and the communication of ideas across distinctions of cultural, individual practice, and time. Erosion is a masterpiece of guitar drone, its dense harmonics and overtones induce trance-like states, providing one of the most creatively thrilling, immersive experiences that we can call to mind. Fully remastered from the original analog tapes. Edition of 199.
CAT #: URA 046CSRITA, THE Bandaged Invisibility 2xCASSETTE BOX
With his flagship project, The Rita, Sam McKinlay has explored and distilled into sound various permutations of obsession and vice for over five lustrums. Though his musical approach has remained more or less consistent, the subject matter inspiring McKinlay's work has periodically shifted through the years, mapping out the constellation of non-musical obsessions that occupy his mind: sharks, drag racing, Giallo cinema, skateboarding, snorkeling, nylons, ballet, and females to name just a few. Frequently, McKinlay utilizes field recordings and other sounds sourced from the objects of interest before encrypting them in an opaque shell of noise. For The Rita, the abstraction and minimalism of the female form has played a major role in the fetishized development of his source sounds and harsh sound manipulations. Eye shadow and eyebrow pencil pushed to raccoon-like limits and nylon stockings have been used repeatedly in past recordings to personally investigate via harsh sound the abstracted qualities of the aesthetics. For this completely new work utilizing aspects of the female as starting point, The Rita picks apart all leg and foot medical taping/bandaging source sounds by Gabi Losoncy. The various portrayals of the invisible woman in popular media and her choice to be wrapped in medical bandage to represent her otherwise invisible bodily form. The taping and bandaging are articulated and applied in such a way to envision the woman's form in a linear fashion, not unlike contour lines on a map. The predatory nature of her invisibility is tightly cloaked in bandage form. Crushingly beautiful, conceptual rich, and patent by a deep sense of emotive tension. Housed in a beautiful deluxe wooden box of seven inch size with laser engraving of original artwork by Sam McKinlay, two doble face black and white press on high-quality natural paper inserts and full colored letterpress postcard with soft touch lamination. Double cassette in a limited edition of 99, hand numbered copies; includes download code.
CAT #: URA 047CSMAUTHAUSEN ORCHESTRA Private Thoughts Recordings 2xCASSETTE BOX
Mauthausen Orchestra was one of the most important musical projects of the Italian industrial scene in the '80s and has contributed to the birth of the power electronics and harsh noise across the globe. Tape after tape has constituted, in a few years, the backbone of what we will know as an alienating and extremist style, made of metal nightmares and sonic torture, often dilated, dissected and extended up to the limit of endurance. Mauthausen Orchestra carry you as real rituals of a civilization without gods, in a pure world of suffering. Infinite modulations towards a sky that has now disappeared and locked in concrete. A fierce nihilism that overflows into the undefined territory between mind and matter, marking your brains and your skin. A single act of sensory rape trying to deconstruct any rational particle that approaching the sound composition. About almost ten years after the death of Pierpaolo Zoppo, an unforgettable artist and a forerunner of industrial music with his Mauthausen Orchestra cult" project, this new release of completely unreleased material -- containing tracks he composed between 2009 and 2012 -- is released by Urashima in double cassette format, after CD format released last year by Standa, with five bonus tracks (for a total about forty minutes of unreleased material) not present on CD. This new work -- a release which has been officially authorized by his family -- shows Pierpaolo Zoppo at the peak of his artistic maturity: after investigating the most extreme and intransigent sounds for years with impetus, he finds a moment of reflection and some quietness, without completely abandoning its original instinctive and "wild" nature, he knocks corners and softens forms, giving fifteen tracks of music/non-music as "strong" as ever, but at the same time touching and "poetic" as never before. Private Thoughts Recordings (the title of the album was taken from notes that Pierpaolo himself had pinned with a felt-tip pen on a few home-burned discs containing his original recordings) is perhaps the best gift that the artist could have left you before departing for his long journey, and the most intense proof of his deep sensitivity and his incredible avant-garde "sound visions". Housed in a beautiful deluxe wooden box of seven inch size with five doble face inserts with nine collage by Stefano Gentile and audio compiled and mastered by Pierpaolo's longtime friend Giuseppe Verticchio. Double cassette in a limited edition of 99, hand numbered copies; includes download code.
VIA PARIGI (FRANCE)
CAT #: VIA 001LPMUSLIMGAUZE AND THE ROOTSMAN Amahar 2LP
2022 repress. First vinyl issue of these raw experimental dub collaborations between Muslimgauze and The Rootsman, written, recorded and mixed at the Third Eye Studio, Bradford, UK between 1997 and 1998. Originally released on CD by Russian label Aquarellist.
CAT #: WWSCD 062CDVA Pierre Barouh and The Saravah Sound: Jazz, Samba and Other Hallucinatory Grooves CD
Wewantsounds present the first retrospective on vinyl of Saravah Records, one of the most influential French labels founded in Paris by singer, songwriter, and producer Pierre Barouh in 1966. Featuring Brigitte Fontaine, Jacques Higelin, Alfred Panou, and many rare tracks reissued on vinyl for the first time, the set gives a glimpse of the free-form, groovy sound of the label between 1965 and 1976. Supervised by Pierre Barouh's son and Saravah historian, Benjamin Barouh. Pierre Barouh became an icon with the Claude Lelouch film Un Homme et Une Femme in 1966 that made him a star. Indeed, in 1965 while in Brazil, on the insistence of Vinicius de Moraes, he recorded French version of "Samba de Bênção" with Baden Powell on a revox, retitled "Samba Saravah" and played it to his friend Lelouch who fell in love with the song and decided to use it in the film. The film and the score became huge hits. Barouh then decided to develop Saravah Publishing into a label and a recording studio with his old friend and associate Fernand Boruso to develop projects in a truly independent and original way. Through their film connections, came Brigitte Fontaine and Jacques Higelin and recorded "Cet Enfant Que Je T'avais Fait" for the 1968 film Les Encerclés. Saravah signed them on the spot and the song, arranged by Jean Claude Vannier, which would become a cult classic and appeared on Fontaine's breakthrough debut LP Brigitte Fontaine Est... Folle (1968). Fontaine would go on to record several albums for Saravah -- often with her partner Areski Belkacem -- including Comme A La Radio in 1969 with Art Ensemble of Chicago. The latter are also featured on "Mystifying Mama" by Marva Broome and "Je Suis Un Sauvage" by Alfred Panou, an African actor and singer who'd worked with Jean-Luc Godard. Pierre Barouh pioneered music from Africa and Latin America as he'd spent time in Brazil (in 1969 he directed Saravah a documentary about the Rio music scene). He released two albums by Gabonese artist Pierre Akendengue, whose "Orema Ka-ka-ka" from the 1976 album Africa Obota is featured here. Through Boruso, Saravah also released a handful of jazz albums including the Pianos Puzzle series from which come Rene Urtreger's "Tchac Poum Poum", Georges Arvanitas's "Trane's Call", and Maurice Vander's "Sicilienne". The label also ventured in fascinating recordings mixing jazz, experimental music, and pop by Baroque Jazz Trio, Michel Roques, or Cohelmec Ensemble. The set also features rare singles by Beartrice Arnac (then Boruso's girlfriend) with the jazzy "Le Bruit et le Bruit" and Jacques Higelin's "Je Jouais le Piano", one of the first songs recorded for the label and which has never been reissued since. The set ends with a haunting duet between Pierre Barouh and Baden Powell, recorded in 1965 during the same Rio session as Samba Saravah. Also features E.D.F.. Includes liner notes (English/French) by Benjamin plus an exclusive interview of Barouh's partner Fernand Boruso by Jacques Denis.
CAT #: WWSLP 062LPVA Pierre Barouh and The Saravah Sound: Jazz, Samba and Other Hallucinatory Grooves 2LP
Double LP version. Gatefold sleeve with insert. Wewantsounds present the first retrospective on vinyl of Saravah Records, one of the most influential French labels founded in Paris by singer, songwriter, and producer Pierre Barouh in 1966. Featuring Brigitte Fontaine, Jacques Higelin, Alfred Panou, and many rare tracks reissued on vinyl for the first time, the set gives a glimpse of the free-form, groovy sound of the label between 1965 and 1976. Supervised by Pierre Barouh's son and Saravah historian, Benjamin Barouh. Pierre Barouh became an icon with the Claude Lelouch film Un Homme et Une Femme in 1966 that made him a star. Indeed, in 1965 while in Brazil, on the insistence of Vinicius de Moraes, he recorded French version of "Samba de Bênção" with Baden Powell on a revox, retitled "Samba Saravah" and played it to his friend Lelouch who fell in love with the song and decided to use it in the film. The film and the score became huge hits. Barouh then decided to develop Saravah Publishing into a label and a recording studio with his old friend and associate Fernand Boruso to develop projects in a truly independent and original way. Through their film connections, came Brigitte Fontaine and Jacques Higelin and recorded "Cet Enfant Que Je T'avais Fait" for the 1968 film Les Encerclés. Saravah signed them on the spot and the song, arranged by Jean Claude Vannier, which would become a cult classic and appeared on Fontaine's breakthrough debut LP Brigitte Fontaine Est... Folle (1968). Fontaine would go on to record several albums for Saravah -- often with her partner Areski Belkacem -- including Comme A La Radio in 1969 with Art Ensemble of Chicago. The latter are also featured on "Mystifying Mama" by Marva Broome and "Je Suis Un Sauvage" by Alfred Panou, an African actor and singer who'd worked with Jean-Luc Godard. Pierre Barouh pioneered music from Africa and Latin America as he'd spent time in Brazil (in 1969 he directed Saravah a documentary about the Rio music scene). He released two albums by Gabonese artist Pierre Akendengue, whose "Orema Ka-ka-ka" from the 1976 album Africa Obota is featured here. Through Boruso, Saravah also released a handful of jazz albums including the Pianos Puzzle series from which come Rene Urtreger's "Tchac Poum Poum", Georges Arvanitas's "Trane's Call", and Maurice Vander's "Sicilienne". The label also ventured in fascinating recordings mixing jazz, experimental music, and pop by Baroque Jazz Trio, Michel Roques, or Cohelmec Ensemble. The set also features rare singles by Beartrice Arnac (then Boruso's girlfriend) with the jazzy "Le Bruit et le Bruit" and Jacques Higelin's "Je Jouais le Piano", one of the first songs recorded for the label and which has never been reissued since. The set ends with a haunting duet between Pierre Barouh and Baden Powell, recorded in 1965 during the same Rio session as Samba Saravah. Also features E.D.F.. Includes liner notes (English/French) by Benjamin plus an exclusive interview of Barouh's partner Fernand Boruso by Jacques Denis.
WORM DISCS (UK)
CAT #: WDSCS 012LPTC & THE GROOVE FAMILY First Home LP
Soaring horns, jangly highlife guitars, Latin-Caribbean polyrhythms and politically-charged lyrics collide in pulsing Afrobeat and UK jazz conversation on First Home, the debut album by Leeds-raised ten-piece, TC & The Groove Family. Produced by Nubiyan Twist's Tom Excell (Onipa, Ego Ella May, Nerija) and following in the footsteps of fellow Leeds-grown talents, Submotion Orchestra and Necktr, TC & The Groove Family's First Home melds a divergent and international pool of influences (as heard in their fiercely energetic live sets), whilst also telling the story of a group of friends returning to the city where they once assembled, to chant down the powers that be and further widen the British jazz sound through a distinct 2022 Leeds filter. Comprising members who learnt their chops performing across Leeds's thriving live-music circuit, TC & The Groove originally formed as the brainchild of drummer/percussionist and Midlands-raised, Tim Cook. All but one member of the group studied at the renowned Leeds College Of Music and through their communion on the dancefloors/streets of Leeds's famous Subdub, Leeds West Indian Carnival and at Cosmic Slopparties, TC & The Groove Family's mixed-gender and multicultural unit bring together a stylistic range that encompasses soulful house/UKG-inspired vocals, King Tubby, post-punk/indie and DJ Shadow. Inviting such a disparate group of musicians might have seemed random at first but what was to follow was an unmatched sense of comfort and familiarity. Recorded over the course of a hot early summer's week in Sheffield at Yellow Arch Studios, First Home blends dexterous Latin percussion, Central African psychedelia, and UK soundsystem culture across eight exchanges of cross-genre exploration, augmented by Tom Excell's finessed production and studio engineering. The Arthur Verocai-inspired, "Tio" opens proceedings, it's sultry Afrobeat meets Brazilian/MPB fusion, arranged by trombonist Max Purcell-Burrows, is named after Leeds-based promoter, DJ and mentor Lubi "Uncle" Jovanovic and strikes the right balance between Latin, Afro-Cuban street parties and meditative jazz. The set takes a darker turn on "Bossfight", the grime-esque opening horn line and Pariss Elektra's impactful vocals capture a moment of collective anger towards Brexit, systemic racism and the UK government's "hostile environment" policies. For fans of: Nubiyan Twist, Kog, Onipa, Corto.Alto, Snazzback, Joe Armon-Jones, Nubiya Garcia.
ZAMORA LABEL (FRANCE)
CAT #: ZAMO 2105LPGUNWOOD Dream Boat Jane LP
LP version. The second album from the folk rock trio Gunwood. An ode to escapism between tense guitar riffs, boogie blues fever and brass-filled powerful soul. Produced by Jean Lamoot (Noir Désir, Alain Bashung). Why choose between folk poetry and hard rock, the freedom of the '70s and the edginess of the '90s, Irish harmonies and American topography when you can mix it all up and spread new sprouts? Gunnar Ellwanger (voice, guitar), Jeff Preto (bass, voice), and David Jarry Lacombe (drums, voice): the sap of Gunwood flows from all three since their first steps as a group which, following the footsteps of bewitchers of the 2010s such as Alabama Shakes, Feist, or the Black Keys, nowadays establishes itself as fine vibe crafters. Strong from the flock of praises and numerous concerts that followed the release of the striking Travelling Soul in 2017, the trio is coming back even stronger with a sophomore album produced by the sound wizard Jean Lamoot (Noir Désir, Alain Bashung). It symbolizes all the existing escapes, whether it be drugs, music, parties or travels. An ode to escapism and a title-track that leans on a feverish boogie blues and a slide guitar to take-off, as if exhilarated by freedom. Like a blazing fire, Gunwood continues to make its own path. 2022 must only let itself be guided by the thrilling aura of Dream Boat Jane.
CAT #: ZAMO 2201LPDE CARVALHO, LUCIA Pwanga LP
LP version. Lúcia de Carvalho is an alchemist, a seeker of sense, a kindler of essence. Her voice transmits vibrations that heal and transform; her drum transmits the voice of the ancestors, inviting you to reconnect with your deepest self. Born in Luanda, she left the Angolan capital for Portugal with her mother and two of her four sisters, then when she was 12 years old she and her sisters were taken in by a French foster family in Meistratzheim. Her African roots resurfaced in an unexpected way when a Brazilian band happened to play in her village: it was with that band, Som Brasil, that during ten years she took her first musical steps, progressing from backing vocalist to lead singer, moving from dancing to drumming. In 2008, she decided to embark on a solo career and write her own songs. After releasing her first EP in 2011, she met Edouard Heilbronn, a young bassist from Alsace. They worked together on their compositions and played everywhere they could. After a long journey both musical and initiatory that took them to Brazil and Angola, Kuzola ("Love" in the Kimbundu language of Angola) was born: an album (2016) and a moving documentary that retraced Lúcia's quest for her roots and o?ered some answers to her questions about her own identity. If Kuzola was a quest for meaning, the quest this time is for the essence. It has enabled her, always in partnership with Edouard Heilbronn, to strike out into new territory on this her third album, recorded and mixed by Jean Lamoot (Mano Negra, Noir Désir, Alain Bashung, Dominique A, Souad Massi) at Studio Ferber in Paris. Of course, Africa and Brazil are still there on Pwanga, forming the heart of Lúcia as she lives and writes to the beat of the drum, finding words, melodies and rhythms on the same impulse; a raw diamond that her accomplice polishes, enriching the harmonies and sonic imagery and turning the songs on the album into travel films. Other outstanding participation in this luminous repertoire are the illustrious Brazilian singer Chico César, the powerful and warm voice of singer Anna Tréa, and two veterans of Angolan music: percussionist Galiano Neto and producer-guitarist Betinho Feijo, known for their long-standing work alongside the great Bonga Kwenda. While the virtuoso Zé Luis Nascimento (Mayra Andrade, Ayo, Cesaria Evora) knew how to enhance the essence of each title with his original and varied vocabulary between Brazilian, Eastern, and Western percussions.
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