New music is due from Shake Stew, Mary Lattimore & Growing, and New Blade Runners Of Dub, while old music is due from The Battered Ornaments, Curtis Knight Zeus, and Amon Düül.
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CAT #: 202020 018LPDAMON & NAOMI A Sky Record LP
"With its meditative tempos and enveloping guitar work by Michio Kurihara -- 'it's like this golden net,' Naomi said of his gorgeous, versatile playing -- A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that's not accidental: Kurihara hasn't traveled outside of Japan in some time, so Damon and Naomi hadn't recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music. In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image -- after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he'd witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent 'Season Without Time,' which also became a tribute to a friend that she and Damon had lost in the last year. From there, the floodgates opened. The wistful and watery 'Midnight' (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi's nostalgia for youthful summers spent at Jones Beach, while the gentle current of 'Sailing By' pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name." --Lindsay Zoladz "Back to make all your folk-pop dreams melt into the sunset." --Rolling Stone
CAT #: AA 489LPLITTLE JOHN Reggae Dance LP
2022 restock; reissue of this 1982 release, recorded and mixed at Channel One and King Tubby's Studios. Tracks: "Reggae Dance," "Unwilling Baby Mother," "Sweet Reggae Music," "This Kind Of Way," "Respect Your Lover," " If You Only," "Sweet Dreams," "Mr. Babylon" and "All Who Gone."
AGITATED RECORDS (UK)
CAT #: AGIT 061CDSTOLTZ, KELLEY The Stylist CD
"The Stylist, Kelley Stoltz's seventeenth album finds him following up the Third Man Records reissue of his 2001 Antique Glow with a collection of ten new songs. The album was recorded early in 2021, and has been languishing in the vinyl pressing log jam ever since -- luckily Stoltz writes timeless songs, the kind that might've appeared on the fringes of the late '60s or mid-80s. Acoustic guitars, synthesizers, drum machines and strong melodies abound. As with his other classic records Below The Branches, Double Exposure and Ah! (etc), Stoltz plays most of the instruments himself and records in his home studio in San Francisco. Kelley says, 'I chose the title The Stylist because musically I guess that's what I am... because of the way I write, at my leisure over a period of months at home, I kinda flit around between styles. It's all in the pop-rock vein, but there's usually a wide range of sounds and inspiration from song to song. It sort of fits together in a mix tape kind of way, rather than an exploration of one particular mood. That's always been the case with my albums.' Thankfully, after twenty-three years the beat goes on... and no matter what style Stoltz chooses, The Stylist is another platter of tuneful delight in the impressive catalog of one of the great songwriters of the time."
BO WEAVIL RECORDINGS (UK)
CAT #: WEAVIL 012LPMCPHERSON & TETUZI AKIYAMA, DONALD Vinegar & Rum LP
2022 restock; LP version. Recorded in New Zealand in 2004, this is the duo recording of New Zealand guitarist Donald McPherson and Japanese guitarist Tetuzi Akiyama. A beautiful meeting of two virtuoso acoustic guitarists, both thoroughly schooled in the vast world of improvising. Donald McPherson, a native New Zealander, has released a number of extremely limited lathe-cut folk records. Tetuzi Akiyama is often associated with the improvising community in Tokyo generated around Tokyo's Off Site venue. But Tetuzi's sound owes just as much to the country blues guitarists of the '30s. His sound has taken the blues form into a new world of minimalist improvisations. His loose playing side-steps the usual clichés of the guitar in both the free improv and traditional folk scenes. Tetuzi has a varied number of very different projects from free improvisations, working with musicians across the globe, to hard minimalist electric blues boogies. Vinegar & Rum finds Tetuzi and Donald playing melodic folk improvisations that grow and morph into compositions that upon each listening uncover some new layer of beauty. Both playing on acoustic guitar, they have a level of communication and understanding that allows a musical connection to grow and blossom into a full-length recording of delicate melodic mayhem.
CAT #: WEAVIL 015LPAKIYAMA, TETUZI Pre-Existence LP
Limted 2022 restock, last copies. Originally released in 2006. Tetuzi Akiyama has been a major player on the free music/improv scene in Tokyo for over 20 years. Pre-Existence first came out on CD as a part of the great Wooden Guitar series from Locust. Akiyama's playing here is one of a minimalist approach, discovering and investigating the empty spaces between each note. He does not follow the Takoma guitar school style of finger-picking, but instead invokes a far more warped primitive country blues feel with a meditative quality. You never know where you are going to be led with his guitar, down roads rarely travelled. With his dense tapestry of sounds, Akiyama evokes emotions that at times are uncomfortable, but are of real beauty. Open your ears and let the music take you far, far out there.
CAT #: WEAVIL 055LPWILKINSON/EDWARDS/NOBLE 3 Of A Kind LP
2022 restock; The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space -- at the heart of the improve scene here at this moment -- Iklectik, are the very beating heart of improvised music. It's not that they are good, or even representative -- such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying. Personnel: Alan Wilkinson - alto, baritone saxophones, bass clarinet; John Edwards - double bass; Steve Noble - drums.
CAT #: BONER 025LPMELVINS, THE Bullhead LP
2022 repress. 1991 release. "Available again with updated artwork and a new gatefold sleeve! Melvins' follow-up to 1989's Ozma was 1991's groundbreaking Bullhead. The songs are longer, the mood is calmer, yet more menacing. 'Boris' (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. 'Zodiac' is a frantic punk rock machine gun blasting away at Buzz's demons (both inner and outer). 'Cow' is a happy baboon bashing away at the best drum solo of his life. 'It's Shoved' is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom."
CAT #: CF 055LPTHEE OH SEES Mutilator Defeated at Last LP
2022 repress. 2015 release. "Received a 7.8 rating from Pitchfork. Here we have a new batch from Thee Oh Sees for your absorption -- nine muscular tunes primed to pummel. Last year's Drop was more schizophrenic, ranging from heavy to whimsical and back; Mutilator Defeated at Last has more in common with the monolithic hugeness of Floating Coffin. With only two brief reprieves from its onslaught, this record is made to be played loudly and demands bodily sacrifice. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous. Synths and acoustic guitars wind throughout the album like veins of gold through granite. Any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best."
CAT #: CF 093LPOH SEES Orc 2LP
2022 repress. 2017 release. "Received a 7.4 rating from Pitchfork. The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining -- with equal dashes of abandon and menace -- on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil... more complex... more narcotic... more screech... more blare... more whisper... there's even more Brigid. Less 'Thee,' but more of everything else."
CAT #: CT 103LPPRINCE JAZZBO Ital Corner LP
2022 repress. 1979 Clocktower reissue of UK release of Prince Jazzbo's Natty Passing Thru (1976) with a different tracklist and sleeve. "The full-on Black Ark sound from the Super Ape era. Riddims include Max Romeo's 'One Step Forward'." Produced by Lee Perry, The Upsetters, and Brad Osborne. Features Earl Smith (guitar), Mikey Boo (drums), Keith Stirling (piano), more.
CAT #: CTLP 094LPBOOTHE, KEN Memories LP
2022 repress. Ken Boothe is by far one of the best roots and lovers reggae singers from Jamaica. In 1974, he came out with the massive hit "Everything I Own". Clocktower present the LP Memories from the '70s with tracks such as "I'm Just A Man", "Memories By The Score", "Duke Of Earl", and "Artibella". Massive tracks for all.
COLLISION: CAUSE OF CHAPTER 3 (GERMANY)
CAT #: CCT 30192LPDUBBLESTANDART/LEE "SCRATCH" PERRY/ARI UP Return From Planet Dub LP
Now also available as vinyl. Features eight song highlights from the original double CD version of the album (CCT 3019CD). On the planet dub, Dubblestandart have already left their own crater with ten albums by now. Founded in the late eighties under the impression of Lee Perry's unique Black Ark productions and Adrian Sherwood's radical mixing maneuvers on On-U-Sound, the proven and sought-after backing band (Ari Up, Lee "Scratch" Perry Dillinger, Lilian Allen, Top Cat) around Paul Zasky has given Jamaican production techniques their own European face: bass-based, new wave-informed, on the cutting edge of mixing and adept in the tightrope walk between digital wumms and analog warmth, wordlessly mediating between patois and schmäh. With their eleventh album, they crown their career with a series of sensational collaborations (including Lee "Scratch" Perry, Ari Up and director David Lynch) and one that is unparalleled in terms of density, richness, depth and weight this season. Recorded in Kingston, the Bronx and in the home studio in Vienna. 180 gram vinyl.
CONGO ASHANTY (CANADA)
CAT #: CG 002LPMYTON & THE CONGOS, CEDRIC Image of Africa LP
2022 repress. Originally released in 1979. Personnel: Cedric Myton - lead vocal; Watty Burnett and Dedric Myton - background vocals; Fabian Cooke - drums; Tony Allen - bass; Roy Johnson and Little David - rhythm guitar; Lennox Gordon and Little David - lead guitar; Harold Butler and Owen Stewart - organ, piano; Congo, Jones, Ras Melineck, Br. Joe - percussion; Phillipe Quilchini - bass.
CORBETT VS. DEMPSEY
CAT #: CVSD 085CDMCPHEE & EVAN PARKER, JOE Sweet Nothings (for Milford Graves) CD
Two masters of wind instruments blowing in from the Windy City. In 2003, as part of the seventh annual Empty Bottle Festival of Jazz & Improvised Music, Joe McPhee and Evan Parker squared off for a round of intimate dialogues. The resulting recording is just the second time they had played as a duet, the previous also being in Chicago, at a studio in 1998, where the limited their instrumentarium to tenor saxophones, resulting in the Okka Disc classic Chicago Tenor Duets (2002). In this case, they expanded their arsenal to include tenor and soprano saxophones, as well as McPhee's trusty pocket cornet. Held in a beautiful hall at the Chicago Cultural Center, the concert was unforgettable. Fortunately, it was documented by the legendary mobile recordist Malachi Ritscher, who recorded most of the Bottle Fests with his usual rough-and-ready style. From the opening notes, Sweet Nothings was notable for the musicians' intuitive connection. Freely improvised in seven parts, these are duets of the highest caliber performed by two musicians who are constantly seeking common ground -- what you might call "agree-to-agree" improvisors. But there's no lack of tension or productive dissonance; on the contrary, that's part of their unity of vision, the shared ability to diverge and reconnect.
CAT #: CVSD 086CDDREDD FOOLE AND THE DIN Songs In Heat (1982) CD
While Dredd Foole would stamp his legend as a foundational figure in the New Weird America free folk underground of the 1990s and 2000s, that is just the second half of the story. Forty years ago, in February 1982, Dredd entered the studio with Mission of Burma, stepping off a remarkable decade of post-punk activity that drew comparisons to The Stooges, Tim Buckley, and various outsider musicians. They would never tour and lacked ambition, so their powers were largely witnessed by a cloistered Boston scene. After an exhaustive approach in which hundreds of live, studio, home, and private performances have been located and reviewed over several years, Corbett Vs. Dempsey presents the first release in an ongoing series that will reconstruct the legacy known and the legacy damned of the most overlooked and under-documented American free rock unit, Dredd Foole and the Din. During an era of peak corporate control on popular music, when guitars were in the closet, improvisation was in retreat, and the flames of fire music were dimming, Dredd Foole and the Din emerged as part of a new underground kicking against the pricks, holding the line with the firmly clenched spirit of The Stooges, The Velvet Underground, and the newfound freedoms of the DIY post-punk landscape. Dredd's approach was radical even by the underground standards of the day: only the chords and some lyrics were predetermined, yet the songs were recorded in one take, without rehearsal. He sought to engineer maniacal and spiritually-frenzied bursts of raw aliveness. That this was achieved with such rock action is testament to the power of those involved. Until now, the only documentation of Dredd Foole and Mission of Burma's nearly two years of lowkey collaborative activity -- the celebrated band's sole collaboration during their initial incarnation -- was a two-song 7" single. Radically remixed/fully mixed from the original master tapes, remastered, and with the full cooperation of Dredd Foole and Mission of Burma, this first archival effort surfaces the entirety of that blistering studio session, growing it to near-album length and presenting a full picture of the Din's sound. The studio effort is balanced by a lo-fi selection of the project's astounding live debut from later that year, captured on cassette. Select live at the Channel 8/9/82, previously unreleased. Personnel: Dredd Foole - guitar, vocals; Roger Miller - organ, guitar; Clint Conley - guitar; Martin Swope - prepared bass; Peter Prescott - drums. Previously unpublished photographs by Pat Ireton. Produced and designed by Kris Price.
COSMIC ROCK (ITALY)
CAT #: COSMR 004LPRASPUTIN'S STASH Rasputin's Stash LP
Cosmic Rock present a reissue of the self-titled album by Rasputin's Stash, originally released in 1971. What about a funk group from Chicago paying homage to the famous Russian prophet/mystical? The band, founded in the early '70s by session musician Martin Dumas Jr, debuted with a killer album on Cotillion (a subsidiary label of Atlantic, operating from 1968 to 1986) in 1971 showing their intense power and a full-on blaxploitation aesthetic. Their sound was mainly a mix of fuzzy guitars and tight horns arrangements, with lots of cool percussion thrown in. At times, you can tell there's almost a Watts 103rd Street Rhythm Band vibe to their approach, but mixed with some lysergic influences -- think about early Funkadelic -- verging on their more rock side of things.
CAT #: COSMR 008LPZERFAS Zerfas LP
Cosmic Rock present a reissue of Zerfas's self-titled album, originally released in 1973. This is probably one of the US private press scene's greatest treasures. The sole album published by this American five-piece was released in 1973 in a ridiculously small run and soon was elected as a contemporary cult. The band from Indianapolis consisted of brothers David Zerfas and Herman Zerfas, and was originally formed in 1969. While they released just a single self-titled album, they continued to play gigs until 1983. All the material is self-penned which comes as a surprise as the tracks are uniformly strong, with lots of keyboards, sound effects, and some outstanding harmonies. An excellent mix of proto-garage, psych and even prog with a strong effort on studio wizardly. A rare gem all in all!
CAT #: 9781734681772GYSIN, BRION Permutations Book
"The first collection of the Beat mentor's long-influential permutation poems -- one of the earliest examples of computer-generated literature. Written between 1958 and 1982, Brion Gysin's permutation poems begin with short phrases or sentences whose constituent words are exhaustively rearranged over the course of the text. At first, Gysin wrote these poems manually, although later, in collaboration with programmer Ian Sommerville, he would write permutation poems with the assistance of a computer, making them a very early instance of computer-generated literature. Some of these works were published in books, while others exist only as audio recordings. Many derive from a 1960 BBC radio commission, The Permutated Poems of Brion Gysin, in which readings of the texts were recorded, cut up, modulated and overlapped. For the first time, this collection brings together all published and -- where transcribable -- unpublished versions of each poem, as well as Cut-Ups Self-Explained, a short text by Gysin that contextualizes the work. The poems are organized in chronological order by first publication or first recording, with further versions of each poem grouped together in chronological order immediately after the initial version. This organization brings distinctions between versions into relief, allowing readers to explore the playful systematicity that undergirds this remarkable body of work. Brion Gysin (1916-86) was a multidisciplinary artist, author and poet. Born in Taplow, England, he studied painting at the Sorbonne in Paris and immigrated to New York in 1939. In the 1950s he lived in Tangier, where he first met William S. Burroughs. Gysin collaborated often; after returning to Paris, he developed the cut-up method with Burroughs, and with engineer Ian Sommerville he created the Dreamachine, a kinetic light sculpture. Gysin would become a mentor for generations of artists, musicians and writers, including David Bowie, John Giorno, Keith Haring, Brian Jones and Genesis Breyer P-Orridge, among others."
DIE KOSMISCHEN KURIERE (GERMANY)
CAT #: KM 58016LPMYTHOS Dreamlab LP
Reissue. In 1975, the second album of the Berlin based electronic group Mythos was released. Mastermind Stephan Kaske and his band present the typical sound cascades and sequences of the Berlin school. Similar to the works of several other fellow artists on the same label, the album develops a science fiction concept around the story of an extraterrestrial visitor on a journey to Earth. Dreamlab is predominantly made up of peaceful and relaxed music. The meter is often determined by echoes from flutes and guitar riffs backed by expansive Mellotron arrangements. This remastered reissue comes in a digisleeve on the original Kosmische Kuriere label.
DOGHOUSE & BONE RECORDS (FRANCE)
CAT #: DGREX 011LPVA Things Are Lookin' Good! LP
The next Doghouse & Bone Records summer compilation, Things Are Lookin' Good! A lot of platters to "go go" your booty by the pool. Sixties rockin' pop at its best. Features Baker Knight, Bobby Goldsboro, Jay Brown, Jimmy Gilmer and The Fireballs, Mickey Lee Lane, Carl Perkins, Billy Lee Riley, Charlie Rich, Dion, Ricky Nelson, Bobby Garrett with Ray Lee's Combo, Dion Di Mucci, Barney Kessel, Hal Baine, His Drum and Orchestra, Pegi Boucher, and Jamie Coe & The Gigolo's.
DUG OUT (UK)
CAT #: DO ADM095EPMINOTT, SUGAR Sheriff John Brown 12"
Limited restock. Dancehall savior of Studio One, and co-architect of Black Victory, Wackies stalwart Sugar Minott himself takes the mic. The single "Sheriff John Brown" is a driving sufferer's cliffhanger about bent cops and going on the run. Included here also is another version and a "Brown Dub."
ECHO BEACH (GERMANY)
CAT #: EB 164LPCPT. YOSSARIAN VS. KAPELLE SO & SO Bob Marley In Dub LP
FLAPAAaaam!!! the first snare roll leaves no doubt: this is a dub album, reminiscing the pioneers of the genre like King Tubby, Lee "Scratch" Perry and Scientist and of course, it's a tribute to the revolutionary music of Bob Marley and the Wailers. The original record from which these dubs derive -- Bob by Kapelle So & So featuring Cpt. Yossarian -- was recorded in 2020, the year of Bob Marley's 75th birthday. Due to the strict lockdown all the tracks were recorded separately -- which perfectly qualifies them for a dub rework. The musicians involved took great care to dig deeply into the original music, absorbing every note of the Wailers' recordings and translating it to their own instrument. But at this point they leave common paths, because what would be Aston Barrett's electric bass turns out to be a tuba and his brother Carly's distinguished bass drum sound resurges on an old leather suitcase. A traditional Bavarian folk band (trumpet, cornet, tuba, accordion, guitar, drums) playing Bob Marley's sacred music. Simultaneously seriously sticking to the original score and adding color to the music by the masterful use of their rather uncommon instruments. What sounds like an impossible -- almost blasphemous -- endeavor actually sounds pretty neat and leads to the next big venture: a dub album paying tribute to the music of Bob Marley and the Wailers. The dub versions naturally lead on the abstract that was introduced by the uncommon orchestration by muting or emphasizing single instruments and sending them into the sonic orbit. The melody itself is almost completely left out. Nevertheless, one never loses one's orientation since the defining elements of the songs alternate skillfully, vanishing in clouds of reverb, losing themselves in echo feedbacks and then popping up again, guiding us through the song. Despite being focused mainly on bass and drums, Marley's parts instantly come to mind proving the profound impact of this divine music. Bob Marley In Dub is the abstract of an abstract and still manages to transport the heart and soul inherent of the music. With all due respect to the original, Cpt. Yossarian manages to illuminate nuances of the material yet unheard and takes you on a trip through his conception of this otherwise well-known material.
CAT #: EB 171CDNEW BLADE RUNNERS OF DUB New Blade Runners Of Dub CD
The debut album of Zasky & Smith, producers of New Blade Runners Of Dub. Built on the legacy of Zasky's internationally known Dub Reggae Band Dubblestandart, New Blade Runners Of Dub blend Jed Smith's LA native, composer/producer's new school visions of sound and Zasky's European shaped dub reggae background in a unique way. Call it Europe and America in a unity reconfiguring rhythm driven music for new generations. Jed Smith composer and producer has worked for and with notable cinematic and musical talents as diverse as Macy Gray, Paul Oakenfold, Ladytron, Amp Fiddler, Electronic Arts, High Voltage, JunkieXL, Wim Wenders, amongst others. His work has been in Hollywood films such as The Bank Job, The Mist, Pledge This! and Tomb Raider, Deadpool , and Terminator. Television series such as Daredevil, Grey's Anatomy, Windfall, and Reno 911!, featured in independent films, screened at Sundance and Cannes Film Festivals. He is an award-winning multi-talent, who also designed custom-made instruments and performance sound installations. Paul Zasky and his band Dubblestandart have been touring Europe since the early '90s, promoting their high energy dub style. Their critically-acclaimed Return From Planet Dub album (2009) with Grammy winning Lee Scratch Perry, film director David Lynch and Ari Up from the Slits marked a peak in their career, collaborating with stars of the dub and reggae scene such as Marcia Griffiths, Carol Wheeler (Soul2Soul), Ken Boothe, Mikey Dread, Dillinger, Mad Professor, Dennis Bovell, Adrian Sherwood, Rob Smith, Dreadzone, Sounds From The Ground, and countless others. Dubblestandart played Summerstage concert NYC Central Park 2009, Moscow-Russia 2017, Goa-India 2013 and toured Canada 2003 & 2008. Zasky played bass for Lee Perry on all his North American Live dates 2009-2017 as part of Subatomic Sound System, including two Coachella appearances. The New Blade Runners Of Dub are a Los Angeles based music group, combining cutting edge rhythm productions and up two the time sonic visions. It is a collaboration of international known musicians from the US, Europe, England, and Jamaica. Altered concepts for new generations who identify through a new understanding of art, communication and therefor ultimately for the politics, that will shape their world. This is music for the 21st century. Decoding what lays ahead.
CAT #: EB 171LPNEW BLADE RUNNERS OF DUB New Blade Runners Of Dub LP
LP version. The debut album of Zasky & Smith, producers of New Blade Runners Of Dub. Built on the legacy of Zasky's internationally known Dub Reggae Band Dubblestandart, New Blade Runners Of Dub blend Jed Smith's LA native, composer/producer's new school visions of sound and Zasky's European shaped dub reggae background in a unique way. Call it Europe and America in a unity reconfiguring rhythm driven music for new generations. Jed Smith composer and producer has worked for and with notable cinematic and musical talents as diverse as Macy Gray, Paul Oakenfold, Ladytron, Amp Fiddler, Electronic Arts, High Voltage, JunkieXL, Wim Wenders, amongst others. His work has been in Hollywood films such as The Bank Job, The Mist, Pledge This! and Tomb Raider, Deadpool , and Terminator. Television series such as Daredevil, Grey's Anatomy, Windfall, and Reno 911!, featured in independent films, screened at Sundance and Cannes Film Festivals. He is an award-winning multi-talent, who also designed custom-made instruments and performance sound installations. Paul Zasky and his band Dubblestandart have been touring Europe since the early '90s, promoting their high energy dub style. Their critically-acclaimed Return From Planet Dub album (2009) with Grammy winning Lee Scratch Perry, film director David Lynch and Ari Up from the Slits marked a peak in their career, collaborating with stars of the dub and reggae scene such as Marcia Griffiths, Carol Wheeler (Soul2Soul), Ken Boothe, Mikey Dread, Dillinger, Mad Professor, Dennis Bovell, Adrian Sherwood, Rob Smith, Dreadzone, Sounds From The Ground, and countless others. Dubblestandart played Summerstage concert NYC Central Park 2009, Moscow-Russia 2017, Goa-India 2013 and toured Canada 2003 & 2008. Zasky played bass for Lee Perry on all his North American Live dates 2009-2017 as part of Subatomic Sound System, including two Coachella appearances. The New Blade Runners Of Dub are a Los Angeles based music group, combining cutting edge rhythm productions and up two the time sonic visions. It is a collaboration of international known musicians from the US, Europe, England, and Jamaica. Altered concepts for new generations who identify through a new understanding of art, communication and therefor ultimately for the politics, that will shape their world. This is music for the 21st century. Decoding what lays ahead.
CAT #: EB 177CDVA King Size Dub 25 CD
A very, very special King Size Dub release... The music suggests sunshine and sound systems, hot sand and cool drinks, the bass shuffles calmly but also provocatively rebellious. Dub is the art of the disk jockey they first raised to stardom in Jamaica. In the fifties there were music mobiles, the "sound systems", the replacement for missing radio stations. The DJs, who were concerned about exclusivity, soon recorded their hit singles themselves, with instrumental backing for jokes and announcements. At the end of the sixties, this dub became independent due to technical progress. King Tubby and Lee "Scratch" Perry played with reverb, echo and retrograde tapes. Dub broke away from Jamaica and went to New York or London, where his militancy goes well with punk. There is a dub series that has been causing a sensation for years, and has been since the release of King Size Dub 1 (back then in cooperation with the cult magazine SPEX) in 1994! In the series there were always trips to obscure counting (Vol.69) and specials about certain regions (Dub In Germany), labels (ON-U Sound Records from London) or bands (Dubmatix from Toronto). It's wonderful that with KSD 25, another compilation in the series presents dub as a multi-layered art of sound mixing. In this edition, Echo Beach friends old and new dub each other or present their own versions of pop and reggae hits by the likes of the Ramones, Bob Marley, Blondie, Robert Palmer, and David Bowie.CD version features Seanie T Meets Aldubb, Rob Smith aka RSD, Dubinator, Dieter Meier, Dubjestic, Dennis Bovell Meets Dubblestandart, Dubmatix Meets Future Dub Orchestra, Automat, Paul St Hiliare, Dubvisionist, Dub Spencer & Trance Hill, KSD, Dubmatix, Seeed, Umberto Echo, Almamegretta, C Jones Meets Ale X, Dubby Stardust, Jasmine Ash, Re 201 Palmer In Dub, Mika Bajinsky, Deadbet, Dubxanne aka Guido Craveiro, Sara Lugo, Dubmones, New Bladerunners Of Dub, Santa Davis & Ama B, and Paolo Baldini Dubfiles Meets Noiseshaper.
CAT #: EB 177LPVA King Size Dub 25 LP
LP version. A very, very special King Size Dub release... The music suggests sunshine and sound systems, hot sand and cool drinks, the bass shuffles calmly but also provocatively rebellious. Dub is the art of the disk jockey they first raised to stardom in Jamaica. In the fifties there were music mobiles, the "sound systems", the replacement for missing radio stations. The DJs, who were concerned about exclusivity, soon recorded their hit singles themselves, with instrumental backing for jokes and announcements. At the end of the sixties, this dub became independent due to technical progress. King Tubby and Lee "Scratch" Perry played with reverb, echo and retrograde tapes. Dub broke away from Jamaica and went to New York or London, where his militancy goes well with punk. There is a dub series that has been causing a sensation for years, and has been since the release of King Size Dub 1 (back then in cooperation with the cult magazine SPEX) in 1994! In the series there were always trips to obscure counting (Vol.69) and specials about certain regions (Dub In Germany), labels (ON-U Sound Records from London) or bands (Dubmatix from Toronto). It's wonderful that with KSD 25, another compilation in the series presents dub as a multi-layered art of sound mixing. In this edition, Echo Beach friends old and new dub each other or present their own versions of pop and reggae hits by the likes of the Ramones, Bob Marley, Blondie, Robert Palmer, and David Bowie.LP version featuresDubvisionist Meets Dubblestandart, Dubmatix Meets Future Dub Orchestra Dubjestic, Seanie T Meets Aldubb, Rob Smith aka RSD, Dubmones, Dubby Stardust, Jasmine Ash, Re 201 Palmer In Dub, Mika Bajinsky, Deadbet, Dubxanne aka Guido Craveiro, Sara Lugo, Dubinator, Dieter Meier, Seeed, and Umberto Echo.
EL PALMAS MUSIC (SPAIN)
CAT #: ELPALMAS 019LPLOS CALVOS Estos Son Los Calvos LP
Few have done as much for salsa in Venezuela as band-leader, composer and pianist Ray Pérez. He burst on to the scene in the mid-60s with his group Los Dementes, creating the blueprint for guaguanco, Pachanga, and boogaloo in Venezuela. When the name salsa began to be used as something of a catch-all-term he was still at the forefront, recording two hugely-popular salsa albums with Los Dementes in 1967. Remarkably, that very same year, he also recorded two albums with a brand-new group, Los Calvos, that showed how as well as being the genre's most visible band-leader, he was also pushing the nascent genre to its limits. Estos Son Los Calvos is the first of the two albums he made with Los Calvos. On it, he recruited a drummer (unprecedented at the time for a salsa ensemble, which always used percussionists), switched from the trombones of Los Dementes to the much harder, direct sound of trumpets, and he recruited Carlos Yanez, best known as El Negrito Calavén, as singer. Whereas Los Dementes had been aligned with the slightly pop sound of tropical orchestras, Los Calvos took an almost-jazz approach, allowing room for the musicians and vocalists to improvise, and they also took inspiration from the sounds of surf rock swirling around Caracas. Opening track "El Kenya" is the clearest example of that surf rock influence. They were intent on creating their own dance craze, and the song had all the credentials: rollicking montuno piano from Pérez, ingenious scatting and vocal improvs from Calavén, and a middle section where the drums and trumpets battle it out hard. It's followed by "Mi Salsa Llegó", which Pérez had already recorded with Los Dementes; here, it's a tougher beast, the sparser hits of the drums and trumpets giving a harder sound evocative of the times. Los Calvos was a group made up of some of Venezuela's finest musicians. The legendary Frank "El Pavo" Hernandez was on drum kit, with revered names like Alfredo Padilla, Carlos "Nene" Quintero, Pedro García, Miguel Silva, Enrique Vazquez, Rafael Araujo, and Luis Lewis, also involved in the group. Their versatility allowed Los Calvos to go from the slower, haunting groove of "Negrito Calavan", on to "Bailemos Kenya", another attempt by the group to create their own version of "The Twist". Los Calvos never played live, but that was always the intention. But the spirit of Los Calvos remained when Pérez then formed Los Kenya. Los Calvos would never have the same successes as Pérez's other groups, though, Pérez has revealed that the two albums he made as Los Calvos are some of the most fun he ever had recording.
FEEDING TUBE RECORDS
CAT #: FTR 381CSDONKEY NO NO Bloom Cassette
"Deep new Quarantine Vibes from this hard lovin' Western Mass trio. Two of the tracks were recorded during Donkey No No's superb appearance on the QuaranTunes Zoom concert series (Friday May 14, 2021), the third was done three months later at an undisclosed location. The building blocks, as usual, are Omeed's alternately chipper and fragmentary guitar lines, Jen Gelineau's fluid viola/violin runs, and the weep and sizzle dynamism of Ted Lee's bowed cymbals. If their namesake metal donkey was harmed at any point during these sessions, you won't prove it by me. There is a bit less of rural heft on this tape than on some of the band's other releases. I'm not absolutely certain why this is, but I think it may be there are too many abstract elements in Omeed's playing to reconcile it with the straight line management required of true farmers. Call it creeping city slickerism if you must, but I don't think that captures its raison d'etre. The basis of Donkey No No's sound has always been based on slow-bore improvisation, and their music this time mirrors the unsettled feel so rampant back in mid-2021, evoking the clunky push-pull of continuously evolving disease and protection theories. The trio's earlier music had a much more placid center, built on a general benevolence of spirit quite lacking at the time of these performances. Since their creative process is organic, it's natural for these three to reflect the roil of the days surrounding them. The QuaraTunes tracks definitely evoke this. The August material has a heightened sense of composure to it, but there's still an acerbic bite to both strings and bows. The pre-electric feel that often lends their material some of the same ghostliness as the very earliest work by Dirty Three is definitely present, but the collective reluctance to embrace easy melodies gives everything a very modern cast. It'll be interesting to see if this change in direction is something momentary or more lasting. Either way, Donkey No No's music will be as cool to hear as always." --Byron Coley, 2022
CAT #: FTR 423LP4-LETTER WORDS Band In Boston: Studio/Live at Cantone's July 15, 1981 LP
"As the '80s dawned, Phil Milstein was living in Central Square in Cambridge, setting type and working on the machinations of the Velvet Underground Appreciation Society. He was also beginning to explore his musical alter-ego, Pep Lester, with the first evidence of this appearing on an L.A.F.M.S. comp tape. Phil was also a maniacal tape trader in those days, and one of the people he regularly swapped mixes with was a juvenile delinquent from Athol, Massachusetts named Dana Hatch, whom he'd met when he bought a copy of Phil's VU fanzine What Goes On from him. Dana and a couple of his high school pot buddies started a band called The Rags to make a bunch of noise and play the annual school concert, although they had to change their name to The 4-Letter Words to do it. As a devoted fan of extreme arcana, Milstein soon signed on as the 4LW's manager, arranging for a gig at the grubby Boston venue, Cantone's, opening for Jad Fair. Phil also set up a recording session to precede the gig, at Men & Volts' rehearsal space in a former telescope factory in the Boston neighborhood of Jamaica Plain, with Roger Stevenson and David Greenberger manning the levels. Band In Boston documents the momentous events of that day -- July 15, 1981. The studio session is amazingly crude. It reminds me of the promo sticker on a Kim Fowley project called Underground All Stars -- 'GENUINE ALL STAR HYPE! REALLY TEENAGE!' Playing a mix of covers and originals, the vocals are howled, the guitar is fuzzed, the beats primitive. In short, it's pretty much everything you need for a good time. And judging from the sound of the audience, a good time is just what everyone at Cantone's had later that night. The Modern Lovers cover sounds particularly apt, as Cantone's was essentially the home club for the Real Kids, whose leader, John Felice, was an original Modern Lover. But everything is done wild, loose and full of juice. And man, the audience digs it. Alas, the 4LW didn't last much longer in its protean form. A few years later and weary of the limitations of the criminal lifestyle Dana moved to Boston, where he hooked up with the Shannon brothers, and Cheater Slicks was born. But that's another and much longer story. 4 Letter Words are short and sweet. Just like the band itself. Go nuts. You deserve it." - Byron Coley, 2022
CAT #: FTR 502LPROLIN, MATTHEW J. Matthew J. Rolin LP
2022 repress, purple vinyl. "We're excited to release the debut solo LP by Matthew J. Rolin, currently a resident of Columbus, Ohio. Rolin cut his teeth with garage and psych outfits in Cleveland, appearing on vinyl by Shoreway and Nowhere before he found himself adrift and wandering in the direction of Chicago at the end of 2016. Matthew had always been a fan of Jim O'Rourke's brilliant Bad Timing LP (Drag City, 1997), and when he caught a set by Ryley Walker soon after arriving in the city, he decided to throw himself into developing his acoustic chops. Without really knowing much about the history or context of the American primitive/concert steel string scene, he managed to create a distinctive sound and approach to the instrument, owing less to the music's arts-blues fundamentals than to the contemporary players who have expanded outward in all directions from those initial impulses. Playing his first solo gig in Cleveland, opening for Daniel Bachman, an audience member mentioned John Fahey to Rolin, but he had no idea who the guy was talking about! The root-thread of Rolin's playing flows more from Glenn Jones onward, through Rose and Bachman and Blackshaw and Walker and Lane. I feel like I detect a 'Vaseline Machine Gun' urge towards Kotte-esque density in certain spots, but maybe that's just me. Regardless, Rolin's talents as a solo player (abetted only by Jen 'Donkey No No' Gelineau's violin on one track) are immediately clear from the first note he plays. Matthew currently works both solo, and in a duo with dulcimer player, Jen Powers. If you get a chance to see him don't pass it up. Nor should you pass up this chance to score his first long player while it's hot off the presses." --Byron Coley, 2019
FUTURE SHOCK (ITALY)
CAT #: FS 4477LPCRESSIDA Cressida LP
Reissue. Cressida's debut was issued in 1970 on the famed "Spiral" label, the home of progressive rock. The 12 tracks highlight this excellent British band's ambitious and attractive blend of vocals, guitar, and keyboards. The band enjoyed critical acclaim back in their day and their music still sounds fresh today. Red vinyl.
CAT #: FS 4478LPCRESSIDA Asylum LP
Reissue. Asylum has a striking cover artwork, very typical of the style of the day, and was Cressida's second album of eight extended rock workouts, with Peter Jennings's superb keyboard playing backed by John Culley on lead guitar, enhancing the lead vocals of Angus Cullen. With extra percussion and orchestral accompaniment, Cressida's sound has often been compared to their contemporaries, the Moody Blues. White vinyl; gatefold sleeve.
CAT #: FS 4479LPGRAVY TRAIN Gravy Train LP
Reissue. Originally released in 1970. One reason early 1970s Vertigo releases hold up so well is they were progressive but not explicitly arty. This Gravy Train album is a fantastic example. Basically, this is blues derived rock. But as many of the best progressive bands, Gravy Train did not try to reinvent the wheel, or make the wheel a symphony. A fresh turnaround here, an expansion of a bridge there, and the form was new with only subtle modifications. With the flute giving this music a sharp and welcome twist and roots deep in both jazz and blues, Gravy Train has not dated a bit. Gold vinyl; gatefold sleeve.
CAT #: FS 4480LPUNIVERSE Universe LP
Reissue. Originally released in 1971. The intriguing story of Universe is that the little-known British band were driving through Norway and after breaking down were offered assistance by a gent living nearby who happened to have a recording studio in his house. True or not the resulting collection of songs is a great slice of often hard, blue-collar blues rock, with some harmonica, piano and organ. Includes two bonus tracks. Turquoise vinyl.
GLADYS PALMERA RECORDS (SPAIN)
CAT #: RGP 002LPVA Gladys Palmera Compiled by Andy Grey LP
A musical selection of alternative and modern Latin music with the label Gladys Palmera via Andy Grey. Gladys Palmera Compiled by Andy Grey is an energizing mix of Latin rhythms and peripheral sounds. Ten songs which symbolize the strengths of the new times in the Latin music. A box of tropical sounds linked by Andy Grey, resident DJ of Gladys Palmera and one of the producers that is already glimpsing how the night clubs will be in the future. Features Raúl Monsalve Y Los Forajidos, Pahua, Zuaraz, Las Mijas, Arema Arega, Setenta, Acid Coco, Lucio Feuillet, El Dragón Criollo, and La Perla.
CAT #: GB 125CDAVALANCHE KAITO Avalanche Kaito CD
A mysterious matrix that echoes disparate (but strangely compatible) sonic strands: deep griot traditions, Fugazi, Can, '70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes. Emerging from an original dimension in sound, the polygenesis Avalanche Kaito redefine what it is to talk with the ancients whilst leaping forth into a futuristic chaos of noise on their debut album journey. A palpable experience with each sonic blast, each layer a revelation, this simultaneously taut but expansive universe, in which the oral traditions of the West African griot converge with Belgium post-punk, exists in its own space. Urban griot and multi-instrumentalist Kaito Winse (vocals, tama, peul flutes, mouth bow) fortuitously collided with Brussels noise punk musicians Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass) from the group Le Jour du Seigneur, after a friend of theirs in Burkina Faso played Kaito some of the duo's pummeling music. Through a twisting sequence of events, the trio eventually met and began developing the sound world of ancestral proverbs and dataist inspired technology that defines the album. Although the album is being released six months after the debut Dabalomuni EP showcase, the guitarist from that extraordinary otherworldly session, Nico Gitto is now part of the transformed setup; not so much replacing Paquotte as expanding the sound into another direction. With the help of the visual language program PureData (an open-source apparatus for creating interactive computer music and multimedia works) and his pummeling, rattled drumming, Benjamin and his sinewy bassist foil Arnaud create an effective torque and tumult for Kaito's commune with his roots and life in a very different bush of ghosts. Within that space, you'll not only hear super charged traces of post-punk but the tribal, free jazz, prog, and industrial-electronica as well. Kaito's griot ancestry and the band's motivation is a spontaneous escape from the addiction of the online world, a reconnection with the ritual of a live performance. Although created in a studio setting that live in the moment feeling and dynamism is authentically recreated on this album. The practice of improvising in the studio with meticulously arranged pieces blows up and out into the inter-dimensional slackened bass stalk of "Sunguru", and the wilder hysterics and danger of the progressive deconstruction "Douaga". In that postpunk mode, a Jah Wobble-like throbbed esoteric bass converges with more celestial manifestations on "Goomde", whilst "Eya" features a certain Scott Walker atmospheric gloom and earthy soul tumbling drums. At any one-time this trio are snarling yet hypnotic, willowy but thickened with a brooding menace.
CAT #: GB 125LPAVALANCHE KAITO Avalanche Kaito LP
LP version. A mysterious matrix that echoes disparate (but strangely compatible) sonic strands: deep griot traditions, Fugazi, Can, '70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes. Emerging from an original dimension in sound, the polygenesis Avalanche Kaito redefine what it is to talk with the ancients whilst leaping forth into a futuristic chaos of noise on their debut album journey. A palpable experience with each sonic blast, each layer a revelation, this simultaneously taut but expansive universe, in which the oral traditions of the West African griot converge with Belgium post-punk, exists in its own space. Urban griot and multi-instrumentalist Kaito Winse (vocals, tama, peul flutes, mouth bow) fortuitously collided with Brussels noise punk musicians Benjamin Chaval (drums, electronics) and Arnaud Paquotte (bass) from the group Le Jour du Seigneur, after a friend of theirs in Burkina Faso played Kaito some of the duo's pummeling music. Through a twisting sequence of events, the trio eventually met and began developing the sound world of ancestral proverbs and dataist inspired technology that defines the album. Although the album is being released six months after the debut Dabalomuni EP showcase, the guitarist from that extraordinary otherworldly session, Nico Gitto is now part of the transformed setup; not so much replacing Paquotte as expanding the sound into another direction. With the help of the visual language program PureData (an open-source apparatus for creating interactive computer music and multimedia works) and his pummeling, rattled drumming, Benjamin and his sinewy bassist foil Arnaud create an effective torque and tumult for Kaito's commune with his roots and life in a very different bush of ghosts. Within that space, you'll not only hear super charged traces of post-punk but the tribal, free jazz, prog, and industrial-electronica as well. Kaito's griot ancestry and the band's motivation is a spontaneous escape from the addiction of the online world, a reconnection with the ritual of a live performance. Although created in a studio setting that live in the moment feeling and dynamism is authentically recreated on this album. The practice of improvising in the studio with meticulously arranged pieces blows up and out into the inter-dimensional slackened bass stalk of "Sunguru", and the wilder hysterics and danger of the progressive deconstruction "Douaga". In that postpunk mode, a Jah Wobble-like throbbed esoteric bass converges with more celestial manifestations on "Goomde", whilst "Eya" features a certain Scott Walker atmospheric gloom and earthy soul tumbling drums. At any one-time this trio are snarling yet hypnotic, willowy but thickened with a brooding menace.
CAT #: GB 126CDMASTER MUSICIANS OF JAJOUKA LED BY BACHIR ATTAR, THE Dancing Under the Moon 2CD
Beautifully recorded in situ in the Rif mountains in the autumn of 2019, this 110-minute double-CD presents these legendary musicians expansively and unhindered. Based in Jajouka, Morocco, The Master Musicians are a collective of Jbala Sufi trance makers, committed to creating a contemporary representation of their centuries-old musical tradition. The album is produced by long-time band leader Bachir Attar, and with all but one of the tracks exceeding ten-minutes in length, it is clear that these recordings authoritatively grasp the textured essence of this timeless ensemble. Deeply hypnotic and earth-shakingly intense.Text by acclaimed music critic Stephen Davis: "... The latest musical adept to turn inland at Larache, pass through Ksar, stop by the Tatoft caïd, and find the occluded road to Jajouka is the Italian musician and engineer Jacopo Andreini. In late 2019, as the planet was closing down, and as stories circulated about the musicians' vulnerability in today's world, Jacopo was hired by Bachir to make comprehensive recordings of the complete Jajouka music catalog. His mission, supervised by Bachir, was to record as much as possible -- hours and hours over the course of a week -- of Jajouka's varied styles (anthems, flutes, violins, singing) in their tin-roofed madrassa, using the latest sound gear -- eons away from Brion Gysin's 1955 reel-to-reel Uher machine. This selection of tracks from these sessions is the latest testament to the mystic enchantment and spiritual worth of Jajouka, captured in audio fidelity of the highest degree. The double-reed rhaita music recalls that Jajouka once provided musicians to Morocco's royal court. 'Khamsa Khamsin (The 55)' and 'Opening the Gate' are themes once deployed to accompany the Sultan to the mosque, and back again, as early as 1912 and before. The acoustic and percussive fiddle songs called Jibli ("mountain music") are typical of what is played for visitors to Jajouka after a savory evening meal of couscous and tagine. These songs are descended from Andaluz music, the millennium-old melodies of Moorish Iberia. Jajouka, its musicians, and traditions are indeed vulnerable and in transition in this rapidly changing era. It is lovingly curated projects like Dancing Under the Moon, plus the blessings of Baraka, and some luck and hard work by Bachir Attar and the current generation of the Master Musicians, that will hopefully see their ancient folkways survive into better times for everyone. Jajouka's is healing music for our viralized world."
CAT #: GONE 035LPCARBONAS Carbonas LP
2022 repress. 2007 release. "The much-anticipated third album from Atlanta pop-edged punkers The Carbonas." "A taut, brilliant blast of both pop and punk. Given the record's running time, there's 'nary a wasted moment, riff or breath, as the band crams in a host of late-70s/early-80s Antipodean and East Coast rock influences, and strains those sounds through the Carbonas' distinctively greasy Southern sonic filter." --Bob Mehr, Commercial Appeal
GUERSSEN RECORDS (SPAIN)
CAT #: GUESS 175CDOLIVER Standing Stone CD
Part-time farmer/musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK. His cult masterpiece Standing Stone was recorded in early 1974 at a remote farm in Wales, using a portable 4-track TEAC reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and "smaller winged creatures", Oliver sang and played acoustic and electric guitars filtered through tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless. Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver's music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe. He remains a kind of a mysterious figure and we're proud to offer a new, long-awaited reissue of Standing Stone, sanctioned by him. RIYL: Captain Beefheart, Syd Barrett, Roy Harper, Brian Eno, Robert Johnson, Magical Power Mako, Fresh Maggots, Comus, Tony Caro & John. Incudes insert with liner notes by Richard Allen and rare photos. Sourced from the original master tapes. "Few other musicians have been able to mix and blend folk, blues, psychedelia together as Oliver has managed to do" --Ricardo Martillos (Distorsioni). "Like a rustic, ramshackle mix between Electric Ladyland and No Pussyfooting" --Giacomo Checcucci (Pincopanco). "A truly remarkable record" --Galactic Ramble.
CAT #: GUESS 175LPOLIVER Standing Stone LP
LP version. LP version includes download card; cardboard sleeve with OBI. Part-time farmer/musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK. His cult masterpiece Standing Stone was recorded in early 1974 at a remote farm in Wales, using a portable 4-track TEAC reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and "smaller winged creatures", Oliver sang and played acoustic and electric guitars filtered through tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless. Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver's music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe. He remains a kind of a mysterious figure and we're proud to offer a new, long-awaited reissue of Standing Stone, sanctioned by him. RIYL: Captain Beefheart, Syd Barrett, Roy Harper, Brian Eno, Robert Johnson, Magical Power Mako, Fresh Maggots, Comus, Tony Caro & John. Incudes insert with liner notes by Richard Allen and rare photos. Sourced from the original master tapes. "Few other musicians have been able to mix and blend folk, blues, psychedelia together as Oliver has managed to do" --Ricardo Martillos (Distorsioni). "Like a rustic, ramshackle mix between Electric Ladyland and No Pussyfooting" --Giacomo Checcucci (Pincopanco). "A truly remarkable record" --Galactic Ramble.
CAT #: GUESS 186LPOPTIC NERVE On! LP
On! is the lost, previously unreleased album by legendary New York garage-pop, folk-rockers Optic Nerve. Produced by Dave Amels and recorded in 2005 but possessing the same magical, timeless sound and spirit of their classic '80s recordings, full of jangly guitars and innocent vocal harmonies. Here, main songwriters Bobby Belfiore and Tony Matura combine their main influences (Byrds, Velvet Underground, Monkees...) with a good dose of '60s pop-psych and sunshine pop. RIYL: Byrds, Monkees, Lovin' Spoonful, Yo La Tengo, Teenage Fanclub. Includes insert with liner notes and photos; includes download card.
CAT #: GUESS 192LPPLEASE Seeing Stars LP
Recorded in 1969 at Marquee Studios but never released at the time, this is prime cut late '60s UK psychedelia by Please, the band led by the great Peter Dunton and connected to Bulldog Breed and T2. Dreamy atmosphere with cool organ, mellotron, fuzzy guitars, melancholic vocals, and well-crafted songs. First released by the Acme label back in 1999 and out-of-print for many years, here's a new vinyl edition. Taken from the original masters. Hard cardboard sleeve, liner notes. RIYL: Doors, Soft Machine, Pink Floyd, Tomorrow, Move. "In some parallel universe, Peter Dunton is held in the same high esteem as Keith West's Tomorrow or early Soft Machine." --Jack Hopkin (MOOF Magazine). "... a surprise stunner of organ-driven, hyper-melodic psych-pop that would feel right at home on Jagjaguwar or Sacred Bones today..." --Nate Rogers (Aquarium Drunkard).
CAT #: GUESS 197LPT2 1970 LP
This is the "lost" second album by hard-prog band T2, featuring demos recorded at Decca Studios by the original line-up in 1970, just after the release of their debut masterpiece It'll All Work Out In Boomland (1970). Known also as T2 and Fantasy, 1970 shows T2 at their rawest, featuring the explosive guitar of Keith Cross, the powerful drumming and cool vocals of Peter Dunton, and the fantastic bass playing of Bernie Jinks. Hard cardboard sleeve; includes insert with liner notes and photos.
CAT #: GUESS 198LPT2 1971-72 LP
Amazing unissued recordings by cult psych/prog band T2, featuring their later line-up, still with the great Peter Dunton on drums/vocals but now with Andrew Bown replacing Keith Cross on guitar and bass player John Weir on most of the tracks. There's also guest appearances by Dunton's friend Andrew Keeling on flute and slide guitar player Will Killeen. Similar to their classic It'll All Work Out In Boomland and 1970 albums, this is highly recommended to any fan of underground hard-rock and proto-metal. Hard cardboard sleeve; includes insert with liner notes and photos.
HABIBI FUNK (GERMANY)
CAT #: HAB 019CDFERKAT AL ARD Oghneya CD
'An absolutely legendary album from Lebanon by Issam Hajali's group Ferkat Al Ard, Oghneya stands out as one of the great musical gems of the Arab world. A groundbreaking release from 1978 that represents the meeting point of Arab, jazz, folk and Brazilian styles with the talent of Ziad Rahbani, who did the albums arrangements. Filled with a variety of sounds and genres, from Baroque pop to psych-folk to flashes of bossa nova, Tropicalia and MPB, Oghneya is like if Arthur Verocai took a trip to Beirut in the '70s to record an album. In 2015 we heard Ferkat Al Ard's music for the first time, a Lebanese trio compromised of Issam Hajali, Toufic Farroukh and Elia Saba. It is a stunningly unique release that blends traditional Arabic elements, jazz and Brazilian rhythms hand in hand with poetic-yet-politically engaged lyrics. The band was active in the left-wing movement of Lebanon of the time and they communicated their political ideas candidly through their songwriting. As always both vinyl and CD come with an extensive booklet with an interview with Issam as well as unseen photos from the recording sessions."
HEAVY PSYCH SOUNDS (ITALY)
CAT #: HPS 241CDLORD ELEPHANT Cosmic Awakening CD
Cosmic Awakening is the first offering ever released by Lord Elephant in its lifetime. Rather than concentrate themselves on other outputs, the band wanted to celebrate the long road made together as musician and human beings, that made as background in the progressive construction of this album, with a proper debut album, long in its creation as the band itself. Through the episodes of this journey, the trio experiences different moods and sounds on the path, sealing through the dreamy waves of space and acid rock towards the perilous reef of heavy blues, stoner, and sludge metal, finding strength and inspiration in the solid cohesion that bound the three members. Steady rooted in the metal, rock, and blues tradition, Cosmic Awakening tries to find a personal manner to melt heavy music and psychedelia, shadows and lights, with a focused starting point, but going to nowhere defined. Mixed and mastered at Audiovolt Studio in August/September 2021. Artwork and Layout by Coito Negato.
HEY SUBURBIA (ITALY)
CAT #: SUBURBIA 014LPKUNG FU MONKEYS, THE School's Out, Surf's Up, Let's Fall In Love! LP
Originally released on the glorious Mutant Pop Records in the year 2000, New York's cult pop punkers Kung Fu Monkeys' debut album makes it on vinyl for the very first time. The Kung Fu Monkeys are a dream inside a reverie inside a biscuit inside the mind of a fly, playing lo-fi kiddie pop and bug beat music and travelling the globe by hot air balloon. RIYL: Beach Boys, Ramones, Green Day, Queers, Screeching Weasel, Byrds, Herman's Hermits, The Beatles. White vinyl; includes double-sided insert with lyrics.
HONEST JON'S RECORDS (UK)
CAT #: HJR 065LPCOHRAN & THE HYPNOTIC BRASS ENSEMBLE, KELAN PHILIP Kelan Philip Cohran & The Hypnotic Brass Ensemble 2LP
2022 restock; double LP version. For the Hypnotic Brass Ensemble, the voyage to where they are now -- whether tearing up festivals from Glastonbury to Melbourne, or touring with Gorillaz, or recording their first album on Honest Jon's -- has involved a necessary stepping away from their father's shadow. Phil Cohran is the first to recognize this, happily allowing their sound -- heavy on the funk, with the urgency of hip-hop never far away -- to blossom. But likewise this album is for all of them a natural step. Recorded in Chicago in June 2011, the idea was beautifully simple -- "my music and their band." This is music that plumbs the depths and rings with joy.
CAT #: HJR 208LPBAILEY & TONY COE, DEREK Time 2LP
2022 repress. Honest Jon's Records present a reissue of Derek Bailey and Tony Coe's Time, originally released on Incus in 1979. Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe's playing here is something else. It's worth noting that the clarinetist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman's uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It's an influence you can hear right through Bailey's career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe's meandering semitones and sinuous arabesques here recall both Boulez's clarinet writing in Domaines, and the harmonic world of Boulez's own teacher Olivier Messiaen. Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It's at one and the same time dazzlingly virtuosic -- Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be -- and supremely lyrical and spacious. An absolute delight.
CAT #: K 2000LPAIKEN & FUTURE 2000, TONY Unity: Sing It, Shout It LP
2022 repress. "Hailing from New York during the mid 1970s, Tony Aiken and Future 2000 were a musical group whose funky brand of R&B-meets-dance featured a distinct sound reminiscent of a combination of Carribbean music and afrobeat. Their strong arrangements, pulsating beats, and unique orchestrations made them underground darlings for much of the mid-'70s. Their Kimsha Records release Unity: Sing It, Shout It was a joyous, booty-shaking pile of East Coast disco at its most raw. Aiken has since gone on to work with artists such as Dennis Brown, Frankie Paul, Chosen Few, and many more, but the original Unity album has largely been forgotten... until now! In association with Traffic Entertainment, Kimsha Records is proud to present this sterling reissue of the original Unity LP, right on down to the recreation of its original jacket. Features hard-hitting funk tracks like 'Better Days,' and soulful cuts like 'Time Tunnel,' with bouncing bass-lines and sinuous keyboards. Unity's crown jewel however is its' title track, a nine-plus minute long stomper with hints of reggae and tastes of early-disco vibes. An obscure gem, and a classic for any fan of fine afro-centric music."
LANTERN REC. (ITALY)
CAT #: LANR 011LPHEWICK AND THE SOUND, KEVIN This Cover Keeps Reality Unreal LP
Lantern Rec. presents a reissue of Kevin Hewick and the Sound's This Cover Keeps Reality Unreal, originally released in 1983. Kevin Hewick -- a Leicester born -- is still considered a truly representative force of the post-punk counterculture. His first "proper" gig was on a bill with Joy Division, A Certain Ratio, and Section 25. He released a couple of records on Factory in the early '80s, then moving to Cherry Red in 1982. His collaboration with The Sound stands truly as his own masterwork. Recorded and mixed at Elephant Studios, Wapping, London on November 3rd, 4th, and 5th 1983, is still a refreshing example of their combined effort. The four tracks move along a sort of outsider folkish post punk being perhaps his most accessible work ever. Fully remastered and licensed. Clear vinyl.
LIFE GOES ON RECORDS (ITALY)
CAT #: LIFE 022LPCHAMBERS, JOE The Almoravid LP
Life Goes On Records present a reissue of Joe Chambers's The Almoravid, originally released in 1974. Terrific session just released on influential independent Muse. A modal masterpiece verging on spiritual jazz with a series of excellent players: from Richard Davis and Cecil McBee on bass to Ray Mantilla on congas and percussion, through Harold Vick's distinctive flute and tenor sax. The major voice on this record belongs to the traps of Joe Chambers. The enormous potency combined with complete authority and tonal clarity that Chambers brings to the drums has made him one of the more distinctive percussive voices in jazz.
CAT #: LIFE 023LPFLOWER TRAVELLIN' BAND Made In Japan LP
Life Goes On Records present a reissue of the third album by Japanese rock band Flower Travellin' Band, Made In Japan, originally released in 1972. After meeting Lighthouse at the Expo '70 festival in Osaka, Flower Travellin' Band were invited to visit Canada. While there, the group recorded Made In Japan with Lighthouse keyboardist Paul Hoffert helping produce. Due to George Wada becoming ill with tuberculosis, Canadian drummer Paul DeLong plays on some tracks on this album. The lyrics were written by Yoko Nomura, the wife of the band's manager, who translated conversations she had with the group and their ideas into English. "Heaven and Hell" was written by Yamanaka in Japanese and she translated it. The song "Hiroshima" is a re-imagining of "Satori Part III" from their previous album Satori (1971). The introductory first track is an advertisement for a concert at Stanley Park Stadium by Flower Travellin' Band, Emerson, Lake & Palmer, Bob Seger, and Teegarden & Van Winkle, with a clip of "Lucky Man" playing in the background.
CAT #: LIFE 025LPRICH/MAX ROACH, BUDDY Rich Versus Roach LP
Life Goes On Records present a reissue of Rich Versus Roach, a 1959 studio album by drummers Buddy Rich and Max Roach with their respective bands of the time. The album is mixed with each of the two bands in a different stereo channel. Two musical geniuses here at work and there is no clear winner. If you listen very closely to the artistries of the two great drummers, this album is very interesting. This legendary meeting was truly a battle of the drummers! Though the set's a very unusual one for Buddy -- as the group here features players normally associated with Max Roach -- bring in some great solo moments when needed! Rich also brings a few of his key men to the set, too -- including Phil Woods on alto and Willie Dennis on trombone -- on titles that include "Sleep", "The Casbah", "Limehouse Blues", and "Big Foot". Buddy Rich band: Buddy Rich - drums, percussion; Phil Woods - alto saxophone; Willie Dennis - trombone; Phil Leshin - double bass; John Bunch - piano. Max Roach: Max Roach - drums; Stanley Turrentine - tenor saxophone; Julian Priester - trombone; Tommy Turrentine - trumpet; Bobby Boswell - double bass.
LILITH (RUSSIAN FEDERATION)
CAT #: LR 102LPVA No New York LP
2022 repress. One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles. Featuring some of the most incredible rule breaking bands of the underground N.Y.C. art and music scene, the project - produced by Brian Eno - is a genuine snapshot of the massively creative N.Y.C. scene. Artists: Contortions, Teenage Jesus And The Jerks, Mars, D.N.A..
LIVE AT ROBERT JOHNSON (GERMANY)
CAT #: PLAYRJC 079EPBARIS K Valhalla 12"
Live At Robert Johnson welcomes Bar?? Karademir, Istanbul's edit master, DJ, and musician. If you're a person that likes to get up late, Bar??'s first track "Noon" is the one for you. It sort of sets the mood for the whole EP with a groove that is deep and hypnotic and above all psychedelic. There's tremolo en masse plus these in and out fading voices that suck you into Mr. K's world -- all kept together by this steady forward marching Bar?? beat. Pleasure, joy, and happiness -- all in on groove -- and not only effective at noon. "La Dame Noir"'s most prominent feature is a mean bass line -- plus more of those otherworldly sounds that Bar?? manages to pull out of his magician's hat while creating a superb shuffling riddim for all you dancers to shuffle along to, throwing in that oh so subtle triangle now and then. With the last track "Valhalla", Bar?? enters the mythological place of Asgard, where Valhalla, Odin's hall of the slain can be found in his Glaðsheimr castle. That kinda sounds a bit archaic and dark but don't be afraid: where there is shadow there is also light -- light which can be heard in the first opening lines, lines that do sound a bit like played by our favorite shoegazer band My Bloody Valentine. To get to "Valhalla", Bar?? accelerates the tempo by a couple of beats, yet throws in all trademark ingredients to cook up a tune for peak time dancing in Valhalla -- erm -- in the club.
LOST MUSIC (GERMANY)
CAT #: LM 293931CDDEMON THOR Anno 1972 / Written In The Sky CD
Demon Thor was one of the most sensational continental rock groups in the '70s, despite only a short existence: first German band on the legendary Musikladen TV show, first ever appearance at Circus Kronebau in Munich, music awards from France and England, worldwide release of the two LPs by United Artists. The group was a fusion of the Swiss rock scene between Tommy Fortmann and Krokodil, and the singers Geff Harrison, Peter Bischof, and Oliver Freytag. The CD contains tracks from the albums Anno 1972 and Written In The Sky, originally released in 1972 and 1973 respectively. The tracks were produced at Dierks Studios by Dieter Dierks. Carefully remastered, this CD is a continuation of the Lost Music label series.
MAD ABOUT RECORDS (PORTUGAL)
CAT #: MAR 038LPFOUR SOUNDS, THE Jazz From District Six LP
Reissue, originally released in 1969. Ultra-rare South African jazz from District Six with legendary musicians Clifford Moses, Richard Schilder, Basil Moses, and Basil Coetzee. True jazz today is becoming a rare art whose existence depends not only on the jazz-musician but also on the medium by means of which it is propagated. This album is the combined effort of musician and Trutone Record Company to add their contribution to the interest of the arts. The theme for this album is set in "District Six", the community which brought forth The Four Sounds. Basil Moses is perhaps most widely known, in the context of South African jazz history, as having recorded prolifically -- including performing on seven or eight of Abdullah Ibrahim's 1970s recordings. He also features on Sathima Bea Benjamin's African Songbird (1976). Guitarist Cliffie Moses, three years older than brother Basil, was also a professional musician and the two, along with Richard Schilder and Billy Bowers (aka Billie Dollie), formed the Four Sounds in the early 1960s. The group with Basil "Manenburg" Coetzee and Roy Nolly recorded their debut album, Jazz From District Six, in 1969 for Trutone. In 1970, Basil, Cliffie, Roy Petersen, and Monty Weber were all hired to tour the country as the core of Percy Sledge's backing band for a seventeen-week sell-out tour of South and southern Africa. Percy Sledge described it as the "greatest tour of [his] career." Notes by Siemon Allen at Flatinternational; obi; 180 gram vinyl.
CAT #: MAR 056LPGROUP NSI, THE Roger A Ti Wawa LP
Reissue, originally released in 1981. Ultra-rare album reissued for the first time worldwide. Fantastic proto-Zouk from Georges and Pierre-Edouard Decimus. NSI (New Sound from the Islands) is a concept launched by the Decimus family, and the album was released at the end of 1981, at the same time as Kassav's Album N'4 with the singer Jocelyn Moka. Under exclusive license George Decimus. Obi; 180 gram vinyl.
CAT #: MAR 057LPFREE LOVE Free Love LP
Mad About Records present a reissue of Free Love's self-titled album, an extremely rare private press funk modern soul LP originally released in 1979. The only soul album released on LA-based Emkay Records by Marcus Kelly and Westmoreland Co. This St. Louis group was led by Philip Westmoreland. Produced by Kent Washburn and Oliver Sain. 180 gram vinyl; obi strip.
CAT #: MAR 059LPFRED Series Vol. 1 - Madlib LP
A stunning Madlib tribute. The fact that Otis Jackson Jr. as Madlib uses exquisitely selected music by other musicians for his beats is widely known. That other musicians use Madlib's music would be noteworthy. But the fact that musicians use the music that Madlib has used is not only noteworthy but also something new. Just thinking about it makes your head spin. This is precisely the concept behind Series Vol. 1 - Madlib. The idea comes from the Portuguese drummer Frederico Ferreira, in short: FRED. Together with Eduardo Cardinho on vibraphone, Márcio Augusto on bass, Karlos Rotsen on piano, and Tomás Marques on saxophone, he takes what Madlib made from sampling jazz music. He transfers the material into new jazz music. It's so ambitious that Madlib himself didn't hesitate to give the project his blessing. "I've always followed Madlib's work, and the fact he has such a vast repertoire allowed me and the band to choose the songs that made more sense to be played with this particular line-up," says Fred Ferreira. For example, the band chose "Keeper Of My Soul," which can be found on the 2001 album Angles Without Edges by Yesterday's New Quintet. On it, Madlib took a melody piece of the original by Walter Bishop Jr from 1973, looped it, and underlaid it with a forward-marching groove. FRED samples the groove and treats the original's melody more as an ornament that freely lays itself around the beat. In this way, they take their cue from Madlib's works of the last 20 years. The result is ten tunes of finest jazz. Fred Ferreira himself looks back on a diverse repertoire of styles that the 40-year-old drummer from Lisbon has served throughout his life: kuduro with Buraka Som Sistema, hip-hop, and funk with Orelha Negra, punk and hardcore with Os Dias De Raiva. Fred also comes from a musical family. His father is Carlos Eduardo Ferreira, a drummer best known as Kalú. The music will also be performed live, with José Garcia on bass and Diogo Santos on keys. 180 gram vinyl.
CAT #: MAR 060LPTHOMPSON, MALACHI The Seventh Son LP
Mad About Records present a reissue of Malachi Thompson's The Seventh Son, originally released on RA Records in 1980. A true jazz holy grail. For anyone collecting spiritual jazz, this reissue is simply not to be missed. Malachi Thompson moved to Chicago as a child and credited his interest in the trumpet when he was 11 years old. Malachi worked in the rhythm and blues scene on Chicago's South Side as a teen. In 1968, he joined the Association for the Advancement of Creative Musicians (AACM), spending some time in the AACM big band. Thompson worked with saxophonists Joe Henderson, Jackie McLean, Frank Foster, and Archie Shepp, among other musicians while living in New York City. He formed his free bop band in 1978, and eventually relocated to Washington, D.C. Thompson also worked with Lester Bowie's Hot Trumpets Repertory Company and formed Africa Brass, a group inspired by traditional New Orleans brass bands. With a goal of preserving the Sutherland Theater on Chicago's South Side, Thompson founded the Sutherland Community Arts Initiative, a non-profit corporation, in 1991. He also wrote incidental music for a play about the theater. Informed in 1989 that he suffered from T-cell lymphoma and had one year to live, Thompson claimed he was healed by radiation and reading about jazz. He died in Chicago, Illinois from a relapse of his cancer in 2006.
CAT #: NR 082LPKELLY/STEVE VON TILL/WINO, SCOTT Songs of Townes Van Zandt LP
2022 repress. Gold vinyl. 2012 release. "Townes Van Zandt never reached significant fame during his lifetime. Although highly respected by his peers and other songwriters, the mood and atmosphere of his music, coupled with his sometimes dark and sarcastic nature, was not suitable for the commercial country-industry of Nashville. Van Zandt's songs did, however, reach popularity in his day through artists such as Willie Nelson, Merle Haggard and Emmylou Harris. Within his circle of outsider singer-songwriters, he was adored, though ultimately depression and alcoholism overshadowed his life. Van Zandt's friend, singer Steve Earle, has been quoted as saying, 'Townes Van Zandt is the best songwriter in the whole world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that.' Van Zandt's passed away in 1997, and the fact that artists as diverse as Robert Plant, Mudhoney, Norah Jones, Lyle Lovett and Dylan himself have kept his songs alive and vital is a testament to the influence and impact of his music. So now do Steve Von Till, Scott Kelly and Wino stand and sing his tribute, each focusing on the essence of Van Zandt's music and lyrics in his own personal way. The result is a great homage, whose intensity lies in fragility and elementary human truths. Van Zandt's broken-hearted love songs and gloom-ridden tales are most deserving of this tribute and praise."
CAT #: NA 6103LPWITCH Introduction (Red Vinyl) LP
2022 repress. Opaque red vinyl version. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."
CAT #: OMM 560082CDAMON DUUL Paradieswarts Duul CD
Ohr present a reissue of Amon Düül's Paradieswärts Düül, originally released in 1971. In 1968, the Münchner Kommune, formed in 1967, had applied to Rolf-Ulrich Kaiser, the organizer of the Essen Songtage, for a gig there. When the Düüls arrived in Essen, already two bands of this name in the meantime, since three members had split off and now called themselves Amon Düül II. Paradieswärts Düül was released in 1971, it's the third album of this outfit. Transferred from the original analog tapes at Dierks Studios and carefully re-mastered.
PHARAWAY SOUNDS (SPAIN)
CAT #: PHS 071LPSELDA Selda (Picture Disc) PIC. DISC
Picture disc reissue. First album by Selda Bagcan, originally released in 1976. A collection of well-known poems and folk-songs, recorded in cooperation with the most progressive Turkish musicians/arrangers of the '70s: Mogollar, Dadaslar, Zafer Dilek, and Arif Sag, combining traditional instrumentation from Anatolia and Western psychedelic grooves.
CAT #: PHS 072LPKARACA, CEM Nem Kaldi? (Picture Disc) PIC. DISC
Picture disc reissue. Originally released in 1975. Sophisticated and passionate, with flamboyant taste in sunglasses, Cem Karaca led Istanbul's music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet's broiling righteousness and also his listeners' common ground with their elders in Turkey's history. 1975's Nem Kaldi gathers more 60s-70s singles that lead the listener through Karaca's own musical history, skipping across various collaborations. Sink deeper into the intrigue both musical and otherwise as fractious personnel changes and real-life assassins multiply, yet the double-time drums and badass synthesizer schwings pound on.
CAT #: PHS 073LPKORAY, ERKIN Halimem (Picture Disc) PIC. DISC
Picture disc version. Rare single and cassette only tracks (mostly from 1970-72 plus three killer ones from 1987) by the father of Anatolian rock/Turkish psych. Artwork by Sara Gossett.
CAT #: PILZ 6580062CDWALLENSTEIN Cosmic Century CD
Reissue of the third album by the German band Wallenstein, originally released in 1973. Recorded at the Dierks Studios by Dieter Dierks, the group consisted of bandleader Jürgen Dollase, Harald Grosskopf (drums), Dieter Meier (bass), Bill Barone (guitar), and Joachim Reiser (violin). In 2022 the original analog masters were newly remastered. An elaborate work, which has led to a very good result.
QANAT RECORDS (ITALY)
CAT #: QNT 029LPAIRFISH The Crowleyan Hypothesis 2LP
Airfish is an experimental, post-industrial, psychedelic ensemble weaving sounds from Palermo, Sicily, since 1992. A real backbone of the Sicilian underground music scene, this is a band of difficult categorization, started with an industrial punk/metal style (inspired by the likes of Godflesh, Swans, Throbbing Gristle) that has rapidly evolved into an experimental eclecticism of a Mediterranean matrix that does not neglect any area of pop, rock, jazz, and electronics. Anarchists and esotericists affiliated with Thelema's church, early disciples of Psychick TV, Airfish career spanned nearly 30 years; recently, they suffered the loss of Pietro Palazzo, principal voice and founding member, who died of cancer at the age of 47 in 2020, after recording various tracks, including those on this album. The Crowleyan Hypothesis, imbued with dark, voodoo-ritual and psychedelic atmospheres, is dedicated to the feminine element and to Aleister Crowley, and represents part of their artistic testament. Musically, the disc's style ranges from psychedelic rock to expressionist electronics, drawing inspiration as much from the likes of Black Angels and 13th Floor Elevators as from Tangerine Dream and Can. Among the guests: Simone Sfameli (JuJu), Dario D'Alessandro (Homunculus Res), Giorgio Trombino (Haemophagus, Sixthcircle). Edition of 300.
RADIATION RECORDS (ITALY)
CAT #: RRS 171LPVA Belfast Rock LP
Radiation Records present a reissue of Belfast Rock, a compilation released by Rip Off Records in 1978. Pioneering Belfast-based producer George Doherty formed Rip Off Records in 1978 to showcase the emerging punk scene of this politically-divided city, then riven by the factionalism of "The Troubles". Innovative compilation Belfast Rock was the first to feature Belfast punk bands alongside hard rock outfits, most notably legendary Belfast punk act The Detonators, whose sole appearances on vinyl are included here, as well as Doherty's own band, The Jumpers (culled from Pretty Boy Floyd & The Gems, who also feature). A must for anyone interested in the history of punk, as well as Belfast's rock evolution. Also features Blue Steam, Cobra, and No Sweat.
CAT #: RRS 175LPENGLISH DOGS Invasion Of The Porky Men LP
Reissue, originally released in 1984. Emerging from the northern market town of Grantham in the early 1980s, English Dogs reached the punk spotlight opening for Charged GBH and Discharge. Debut album Invasion Of The Porky Men features the band's original line-up, with drummer Andrew Pinching, bassist Mark "Wattie" Watson, guitarist John Murray, and vocalist Pete "Wakey" Wakefield, the hardcore focus very different from the metal direction they would take after Wakey moved on and Gizz Butt added his guitar pyrotechnics. This debut disc is a must for all UK hardcore fanatics, who like their punk delivered in raw, unadorned thrash mode.
RHYTHM SECTION INTERNATIONAL (UK)
CAT #: RS 025EPPINTY City Limits 12"
2022 repress. Peckham MC and DJ Pinty is set to release his debut EP City Limits on Rhythm Section International. Following the recent release of his debut single "Tropical Bleu", a laid-back broken-beat roller produced by friend and collaborator King Krule under his DJ JD Sports alias, Pinty has quickly become the talk of the town. "Nightcrawler" presents a simmering nocturnal dance cut, charged with glowing bursts of deep house and candid lyrics. With deeply personal lyricism and wry humor, "City Limits" adds color to a mostly grey city.
CAT #: RM 4149CDWARNECKE, PIERCE Deafened By The Noise Of Time CD
Pierce Warnecke's work springs forth from the nexus of sound and vision. With Deafened By The Noise Of Time, he undertakes a deep interrogation of sound, which mirrors many of his approaches to visual materials. Seeking to test how elements of music are altered through interference and deterioration, he uses a range of methods to reveal new densities, timbres, and melodies from within his original source materials. Rather than becoming fragmented or overtly degraded though, Warknecke's work on Deafened By The Noise Of Time suggests new textures and harmonic relationships. As one musical gesture is transformed a new set of possibilities opens outward, creating a sense of perpetual unfolding.From Pierce Warnecke: "Deafened By The Noise Of Time is a speculative take on how sound might decay and disappear; a reflection on the unavoidable entropy and dislocation of all things over time through four compositions, one with video . . . I first started working on the material for this album for a performance at Eglise Saint-Merry in Paris in 2017. Following the concert, I sat down to edit the music but struggled with the pieces, every time finding new flaws, unable to follow through with the original compositional ideas. Somewhat frustrated, I decided to strip down the musical content to form more bare-bone structures and look for a different principle or process to tie everything together. For this, I shifted focus to a long running part of my video practice: the deterioration of things over time, where I use my camera with simple lighting and slow movements to focus on rusty, dirty, burned or broken found objects. I like the idea of these things being both recent and ancient, contemporary artefacts of a world in constant decay. I like the idea of being able to still sense memory on objects even when they've become almost entirely unrecognizable. I like how this pushes back against the inevitability of impermanence. I like the act of scavenging and reusing discarded objects to put them in new but uncertain light. I like to think of it as a kind of ritualistic transformation of 'trash-to-treasure', a conjuring of a thing's entire past through imperceptible clues left on it's surface. For Deafened By The Noise Of Time I wanted to apply these ideas to sound, and consider how a musical idea might disappear under an accumulation of interferences, as a kind of sonic sedimentation and erosion..."
CAT #: ROTOR 050LPNURSE WITH WOUND Spiral Insana 2LP
2022 restock; Double-LP version. 180-gram vinyl. Deluxe metallic silver gatefold sleeve. Limited numbered edition of 1000. Rotorelief inaugurates its Silver Collection with this deluxe expanded reissue of Nurse With Wound's 1986 masterpiece Spiral Insana. One of Nurse With Wound's most deep and mysterious recordings, Spiral Insana is more ambient and user-friendly than many other NWW outings, without losing any of its surreal edge. Stapleton and guests Robert Haigh and David Jackman mix prepared piano, percussion, loops, and various bric-à-brac into an hour-long collage of mashed-up sound, jarring juxtapositions, buzz-saw distortion, and even a pipe organ. If that sounds disorienting, that's because it is. This edition marks the definitive release of the complete Spiral Insana sessions, with the contents of the original 1986 LP augmented by three recordings from the same period: "Mourning Smile" (originally released on the 1987 LP Drunk With The Old Man Of The Mountains and later included on the 1997 United Dairies CD reissue of Spiral Insana), "Nihil" (first released on the 1997 Spiral Insana CD reissue), and "A Missing Sense," a 25-minute tribute to Robert Ashley's Automatic Writing originally released as the NWW half of a 1986 LP split with Organum. Steven Stapleton: drums, cello, radio, guitar, bowed piano, percussion, loops, voice, tuba, organ, electronics; Robert Haigh: guitar; David Jackman: banjo, splutter, voice; Chris Wallis: acoustic guitar; David Tibet: trumpet; Diana Rogerson: voice; Andrew McKenzie: voice. Mastered by Denis Blackham. Cover art and pictures by Babs Santini. "Still stands as one of the clear highlights of Stephen Stapleton's singularly daunting and mountainous discography. . . . Many of the varied interludes are noisy, fragmented, and somewhat abrasive, but there is always a playful sense of mischief lurking in the shadows, ready to blunder into the steadily darkening fever dream at any second. . . . a brilliantly skewed and excellent album that has not faded with age one bit." --Anthony D'Amico, Brainwashed
CAT #: ROTOR 077LPNURSE WITH WOUND Gyllenskold Geijerstam and I at Rydbergs 2LP
2022 restock. "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 077SIL-LPNURSE WITH WOUND Gyllenskold Geijerstam and I at Rydbergs (Silver Vinyl) 2LP
2022 restock; double LP version. Silver vinyl. "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
SEALED RECORDS (UK)
CAT #: SEAL 006LPTOXIC WASTE Belfast LP
2022 repress; reissue, originally released in 1987. Toxic Waste represent the hardest end of the Crass milieu. While most anarcho-punk bands of the time sang about a war they'd only seen on TV, Toxic Waste were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as Stalag 17, Conflict, Asylum, and Antisect. Belfast was originally released in 1987 on vocalist Roy Wallace's Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on Belfast are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12" with Stalag 17 on Mortarhate (1985) -- the tracks are included on Belfast and then the following year a split LP called We Will Be Free with Stalag 17 and Asylum before calling it a day and becoming a lost piece of the anarcho punk puzzle. Replica sleeve and fold-out lyric insert.
CAT #: SEV 10101DVDHOPPER, DENNIS Out Of The Blue DVD
"The 4k restoration of Dennis Hopper's lost classic with 15+ hours of special features. It's been called 'shocking' (Film Comment), 'blistering' (Filmmaker) and 'a flat-out masterpiece' (The Playlist) yet remained virtually unseen for over 40 years. Now experience this 'haunting portrait of juvenile delinquency that ranks among the most powerful in American cinema' (Chicago Reader) from actor/director Dennis Hopper as it's never been seen before: Linda Manz 'gives one of the greatest teenage performances of all time' (Film Comment) as a 15-year-old who idolizes Elvis, punk rock and her ex-con father (Hopper), is surrounded by junkies and predators, and follows them all down a one-way road to oblivion. Sharon Farrell (The Stunt Man), Don Gordon (The Last Movie) and Raymond Burr co-star in 'a film about extremes, directed by an extremist' (Time Out) featuring music by Neil Young, newly scanned in 4K from the original negative with more than six hours of special features."
CAT #: SILVER 047X-LPLATTIMORE & GROWING, MARY Gainer (Color Vinyl) LP
Color vinyl. "Critically acclaimed harpist and experimental composer Mary Lattimore and big amp ambient pioneers Growing have united for their first collaboration: Gainer. Remastered here from its original release (previously digital only), Gainer is now available for the first time on vinyl in plush packaging including UV spot gloss 'invisible ink'-style jacket printing. Comprised of two side-long pieces, Gainer is less a meeting point of harp and drone guitars and much more a singular creative group vision made up of elemental movements, electrically charged flow and a symphonic aura by three masters of contemporary ambient and experimental composition. Gainer is rumored to be the first record in a series of collaborative albums by Lattimore and Growing. Based on the premiere statement at hand, let's hope it shall be so!"
CAT #: SOAVE 029LPMATSUTAKE/CHOJURO IMAFUJI/MASASHI KOMATSUBARA, HIDEKI Edo LP
Reissue. Edo is a cosmic ambient experimental masterpiece conceived in 1977 by Masashi Komatsubara and developed alongside Hideki Matsutake (aka Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time -- the Moog IIIc. He extends his research by trying to break down the last wall between modernity and the past: the union and eurythmy between artificial sounds and traditional sounds. All this through a perfect three-way collaboration together with the shamisen musician Konae Imato, and the creation of a unique and extraordinary charming work dedicated to the double soul of the capital of Japan: ancient Edo, now the current day city of Tokyo. Includes OBI and four-page inserts with text in Japanese and English.
SOMMOR RECORDS (SPAIN)
CAT #: SOMM 074LPCURTIS KNIGHT ZEUS Sea of Time LP
Sommor Records present the first vinyl reissue of Curtis Knight Zeus's Sea of Time album, originally released in 1973. In the early '70s, Hendrix's old friend and collaborator Curtis Knight moved to London and formed Curtis Knight Zeus, recruiting a young guitarist named "Fast" Eddie Clarke (later of Motörhead fame). Sea of Time was recorded at Olympic Studios in 1973 but never actually released in the UK, only in a few European countries. Psychedelic hard-rock with soul/funk influences and even some raw proto-punk moves. All songs were written by Curtis, showcasing his versatile songwriting talent, and he's also on lead vocals/guitar. Includes the underground heavy-funk-rock hit "The Devil Made Me Do It", and more. Recommended if you like Jimi Hendrix, Arthur Lee's Vindicator (1972), Chubby Checker's Chequered! (1971). Original gatefold sleeve artwork; includes insert with liner notes by Kingsley Abbott with a foreword by Kathy Knight-McConnell (Curtis's widow) and photos. "It's hard to imagine any rock fan not finding something to enjoy on this Sea of Time album with the quality of the playing and the instantly memorable songs." --Kingsley Abbott
SOUFFLE CONTINU RECORDS (FRANCE)
CAT #: FFL 065LPSHIHAB + GILSON UNIT, SAHIB La Marche Dans Le Desert LP
2022 repress. Souffle Continu Records present the first vinyl reissue of Sahib Shihab + Jef Gilson Unit's La Marche Dans Le Désert, originally released in 1972. A few months after having released Le Massacre Du Printemps (FFL 064LP), Jef Gilson was back behind his keyboards heading up his Unit. This time he was joined by Sahib Shihab. The caravan passes by, evoking, one after the other, Pharoah Sanders and Alice Coltrane, Pierre Henry and Karlheinz Stockhausen... Oh yes, Shihab's saxophone is... amplified. La Marche Dans Le Désert (The Walk in the Desert) is first and foremost the meeting of two iconoclastic musicians: Jef Gilson, pianist who tried his hand in all forms of jazz collaborating with emblematic American musicians (Walter Davis Jr., Woody Shaw, Nathan Davis...) or French musicians who were on their way to becoming so (Jean-Luc Ponty, Bernard Lubat, Michel Portal, Henri Texier...) Shihab is one of the many black American jazzmen who found refuge in Europe. After having played in the bands of Fletcher Henderson and Roy Eldridge, the saxophonist worked with Dizzy Gillespie, Thelonious Monk, John Coltrane, Art Blakey and Tadd Dameron. He came to the old continent with the Quincy Jones orchestra, spent a few years in Copenhagen, returned to Los Angeles, then came back to Europe. When he met Jef Gilson, in February 1972, the saxophonist was happily touring with the Clarke-Boland Big Band. La Marche Dans Le Désert was an opportunity for this supporting player to show what he was capable of. And it was some opportunity: with Gilson and his Unit (Pierre Moret on keyboards and Jean-Claude Pourtier on drums, Jef Catoire on double bass, and Bruno Di Gioia and Maurice Bouhana on flute and percussion respectively), Shihab got maximum exposure. To mark the occasion, he put aside his baritone saxophone to play a soprano... varitone. The amplified instrument, while losing nothing of its natural sound, was capable of generating the same presence as Gilson's electronic keyboards. And it would change the face of modal jazz: in a forest of percussion, Shihab and Gilson go on a sensual walkabout that will remain with listeners for long after. Between the two takes of "Mirage", Shihab, this time on baritone again, takes up the mantle once more of a style of jazz he was unable to strictly define. Licensed from Futura / Marge. Remastered from the master tapes; Restored artwork and obi strip.
CAT #: FFL 070LPCURSON, TED Pop Wine LP
2022 restock. Souffle Continu Records present a reissue of Ted Curson's Pop Wine, originally released in 1971. Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is -- between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette -- an explosive cocktail but which leaves no stains! In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson. Pop Wine: don't be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin. There are five tracks in total: "Quartier Latin" is reminiscent a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), "Flip Top" where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, "L.S.D. Takes A Holiday" which breaks out in a style close to free jazz, and finally "Lonely One", with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage. Carefully remastered from the master tapes. Licensed from Futura / Marge. 180 gram vinyl.
CAT #: SPIRITUAL 026LPGEORIS, NICO A Rainbow In Curved Air LP
"It was never supposed to happen. No one was supposed to reimagine Terry Riley's A Rainbow In Curved Air -- a piece of music that, until now, has existed in its own class of expression. No one was supposed to scale the perilous heights of the citadel and come back with another document of the strange festival scenes within. With the release of Nico Georis's A Rainbow In Curved Air it's clear now that this piece of music is a place that you can go to, a kind of astral sanctum that can be visited again and again so long as you know the mysterious paths that lead to it. Doing away with the production tricks used on Riley's original recording (just intonation, mirror image delay, half-speed tracking of all lead parts) Nico Georis confronts the central seven time theme with a new transparency that gradually complexifies into astonishing Persian carpet displays of patterned musical awareness. This is music of the plenum and not the void: it is teeming with forms that behave in ways that recall descriptions of elaborately jeweled DMT hyperspace; sonic shapes that are driven by the pure uplift and force of infinite, unconstrained autotransformation. In this way it is similar to the original but the pace is way less manic, way more listenable as it rides forward on a calm surge of dazzling zero point energy. The three other songs on the record are Georis originals. 'Vapor' is a moment of twilight abstraction, a plant music duet that features Nico playing along with the plaintive washes of sound produced by a cannabis plant connected to a Plant Wave device. This song was composed spontaneously as it was broadcast live over Nico's Big Sur based pirate channel, Milky Way Radio. Side B contains two remarkable songs, 'Hot Slots' and '777', that are built mostly out of samples of slot machine sounds. They are both lush holograms of hallucinated beauty and convey something about the spirit of luck, abundance and possibility." --Matt Baldwin
SPITTLE RECORDS (ITALY)
CAT #: SPITTLE 114LPSAD LOVERS AND GIANTS Feeding The Flame LP
2022 repress. Spittle Records present a reissue of Sad Lovers And Giants' Feeding The Flame, originally released in 1983. Sad Lovers And Giants second album, a brilliant atmospheric post punk record with several elements akin to Joy Division and The Chameleons. You can definitely apply the term "ethereal" to these compositions, certainly the sound is very oceanic and otherworldly melancholic, typical trademarks of the new wave renaissance. Recorded in 1983 -- and released on their own label Midnight Music -- Feeding The Flame showcases the original line up at its very best.
CAT #: SPITTLE 136LPSAD LOVERS AND GIANTS Total Sound LP
Reissue. Originally recorded for a radio broadcast in Holland in 1983 in front of a very selected audience (ten in all), Total Sound represents a great snapshot of Sad Lovers and Giants live on stage. Here the band, caught just before the split, delivers an outstanding performance based on a fine selection of songs from their first two now classic albums.
CAT #: STAGO 184CDVA Rockinitis 03+04: Electric Blues From The Rock'n'Roll Era Volume Three & Four CD
For the fourth time round, Stag-O-Lee delves into the Rockinitis sounds of mid-50s to early '60s Black dance music. Juke joint gear, as chosen by London based record-slinger, Diddy Wah, Stag-O-Lee's troublemaker-in-chief, R-Man, Barcelona's own Fonsoul and collector extraordinaire Mace from Stoke-On-Trent. This is full-blown electric-guitar blues to make you stand up and shake your hips. 80 minutes of it. Comes with eight-page booklet and liner notes.Features Al Simmons, Eddie Burns, Skip Robinson, The Nightriders, Roy Brown, Peppermint Harris, Ulie & The Uniques, Junior Wells, Little Walter, Dusty Brown, Ace Holder, Lynn Johnson, Detroit Junior, Jimmy Anthony, Magic Sam, Poppa Hop, Buddy Johnson And His Orchestra, Big Tiny Kennedy And His Orchestra, Little Arthur Mathews, Solomon Burke, Robert T. Smith With Toby Pride's Orch., Jimmie Raney & Slim Slaughter, Henry Moore With Willard Burton And Orchestra, Mel Alexander And Movin Master's Band, Paul Gayten, Little David, Blues Slim, Little Ray, Mojo Watson, Sam Baker, Charles Sheffield, and Freddy King.
CAT #: STAR 301791LPWANNADIES, THE Vasterbotten 2LP
Double LP version. The very best of 21 non-album exclusive B-sides from 1992-1999. The Wannadies from Västerbotten, Sweden was the most successful band in the wave of indie pop bands that made it in the '90s. Their power pop/Brit pop had them move to London, and with several top 10 singles in the British charts (with "You And Me" being their biggest hit), they released a lot of singles with exclusively recorded B-sides. For Västerbotten, Startracks have assembled 21 exclusive B-sides from the major label years.
CAT #: STAR 301792CDWANNADIES, THE Vasterbotten CD
The very best of 21 non-album exclusive B-sides from 1992-1999. The Wannadies from Västerbotten, Sweden was the most successful band in the wave of indie pop bands that made it in the '90s. Their power pop/Brit pop had them move to London, and with several top 10 singles in the British charts (with "You And Me" being their biggest hit), they released a lot of singles with exclusively recorded B-sides. For Västerbotten, Startracks have assembled 21 exclusive B-sides from the major label years.
CAT #: STAR 3091798LPWANNADIES, THE Vasterbotten (Bonus 12") 2LP + 12"
Double LP version. Includes bonus 12" with four additional tracks: "Lee Remick", "Blister In The Sun", "I Got A Right", and "Short People". The very best of 21 non-album exclusive B-sides from 1992-1999. The Wannadies from Västerbotten, Sweden was the most successful band in the wave of indie pop bands that made it in the '90s. Their power pop/Brit pop had them move to London, and with several top 10 singles in the British charts (with "You And Me" being their biggest hit), they released a lot of singles with exclusively recorded B-sides. For Västerbotten, Startracks have assembled 21 exclusive B-sides from the major label years.
CAT #: STAR 70341LPFIRESIDE Hello Kids LP
Sweden's supreme indie rockers (back then it was called emo-core), who, with their Do Not Tailgate album (1995), won a Grammis (Swedish Grammy), got signed to Rick Rubin and his American Recordings, toured the American Loolapaloza circuit. To support their ever-so-heavy touring and please the demand from radio, they had a flood of singles with exclusive B-sides. The B-sides were dead serious, full-on studio recordings, no holding back or leftovers. This is some of the best material ever from the band. Originally released a double-CD with covers, this single-LP edition here is shortened down to the 11 first tracks of the CD. The non-album exclusive studio tracks. First time on vinyl.
CAT #: STAUB 167LPHANDS, THE Reflections LP
Founded in 2010, on the ashes of Los Santos, an ultra-local band well recognized by the veterans of the Perpignan scene, The Hands is a quartet with its roots as much in the modern garage scene of the mid-2000s (like Jack Of Heart, Movie Star Junkies, or The Intelligence) as in more classic groups such as the Gun Club, Joy Division or Syd Barrett's Pink Floyd. After two self-produced albums, On The Words (2014) and We Are Other Men (2016) and a few European tours, their third album, Reflections, finally arrives in 2022 after six years of absence. Recorded by their friend Renaud Picard (Crank, Hair & The Iotas), mixed by Briane Blanc (the band's singer) and mastered by Luis Mazzoni at Vintage Sound Studio, this third album is perhaps their mostly anticipated and surely their best so far. Alternating between heady tracks like "Thanks" or "In The Middle" and softer songs like "We Are So Lame" and "Seven Years", the group reveals their real identity throughout the ten songs of this album. As always self-produced for their own label Broken Arm Records, Reflections will be released in collaboration with Staubgold and Cougouyou Music.
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 060LPBATTERED ORNAMENTS, THE Mantle-Piece LP
Survival Research present a reissue of The Battered Ornaments' Mantle-Piece, originally released in 1969. Following the breakup of Cream, lyricist/vocalist Pete Brown formed his Battered Ornaments with guitarist Chris Spedding, drummer Rob Tait, bassist Butch Potter, percussionist Pete Bailey, and saxophonist Nisar Ahmed Khan, but during the recording of sophomore album Mantle-Piece, Brown fell out with Spedding, resulting in his departure. The resultant spacey venture has jazz and blues shades, riding the sonic waves under Spedding's direction, with Khan's sax and Potter's bass fitting foils to Spedding's guitar and keyboards. This is another great piece of the Spedding puzzle, with pleasantly meandering interludes. Gatefold sleeve.
CAT #: GB 120LPSIROM The Liquified Throne of Simplicity 2LP
Double LP version. The Slovenian "imaginary folk" trio's most epic and transportive album yet. Powered by acoustic and often handmade instruments, these expansive compositions echo the borderless, collective spirit of groups like Don Cherry's Organic Music Society and Art Ensemble of Chicago. Drawing on this geography of contemplation and psychic energy, from a country previously swallowed up by Yugoslavia and before that, reaching back centuries, the Roman, Byzantine and Austro-Hungarian Empires, the Slovenian trio of Iztok Koren, Ana Kravanja and Samo Kutin conjure up an extended album of intuitive transcendence and reflection on the unique sounding The Liquified Throne of Simplicity. Finding a home once more with Glitterbeat Records' adventurous, experimental, mostly instrumental, platform tak:til, and following on from the debut I Can Be A Clay Snapper (GB 051CD/LP, 2017), and the equally acclaimed A Universe That Roasts Blossoms For A Horse (GB 079CD/LP, 2019), Sirom's fourth such inventive and illusionary album incorporates some aspects of the former whilst expanding the inventory of eclectic instruments and obscured sounds. For the first time the trio also ignore the time constraints of a standard vinyl record to fashion longer, more fully developed entrancing and hypnotizing peregrinations. This new, amended, approach results in 80 minutes of abstract and rustic folklore, dream-realism, explorative intensity and cathartic ritual. And within that array of realms there's evocations of Jon Hassell's Fourth World experiments, visions of Samarkand, the esoteric mysteries of Tibet, an unplugged faUSt, and pastoral hurdy-gurdy churned Medieval Europe. These off-the-beaten-track performances converge history and geography with untethered fantasies and ambiguous atmospheres; all of which are made even more so fantastical, and even symbolic, by both the poetic, allegorical fabled track titles and the softly surreal illustrative artwork by the small village-based painter Marko Jakse, whose signature magical, if solemn, characters and landscapes adorn the album's cover and inlay. Music, in part, as a therapy The Liquified Throne of Simplicity offers a portal to other musical, sonic worlds: an escape route out of the on-going pandemic and its demoralizing, mentally draining effects and the crisis it has sparked in Slovenia, with certain far right groups especially taking advantage to ramp up the discourse of nationalism. By instinct, and in parts by coincidence, Sirom once more entrance with their vague undulations and illusionary echoes of places, settings, time and escapism on another highly magical album.
CAT #: TAO 010LPKNUFFKE TRIO, KIRK Gravity Without Airs 2LP
Double LP version. Gatefold sleeve; includes download card. "The exemplary and well-traveled cornetist Kirk Knuffke here introduces a bold new trio -- with bassist Michael Bisio and pianist Matthew Shipp -- on an intimate and expansive double album. Gravity Without Airs features the three world-class musicians on both Knuffke compositions and in open form, creating a tour-de-force of poetry and verve. This is Knuffke's debut as a leader for TAO Forms, following on his being full part of James Brandon Lewis / Red Lily Quintet's Jesup Wagon, one of the most acclaimed jazz releases of 2021. That album was eventually voted #1 Album of the Year in the JazzTimes Critics Poll, the international Jazz Critics Poll established by Francis Davis, and the (soon to be announced) DownBeat Critics Poll. Accolades for the cornetist's own recent work as leader include NPR's Jazz Album of the Year laurel for 2017's Cherryco, his homage to Don Cherry, a prime influence. DownBeat praised the way that album showcased Knuffke's 'nonchalant versatility and ebullient melodic gifts,' while esteemed critic Francis Davis called it 'nothing short of spectacular.' Davis also wrote the liner notes for Gravity Without Airs, noting the allure of Knuffke's instrumental aplomb: 'Kirk plays as if his cornet is a part of him -- he plays with it, not just on it.' On his guiding artistic impulse, Kirk Knuffke says: 'I'm concerned with making beautiful music. Beauty is always first, though not in a precious way. It can be in a rough way, too.' A prolific, lauded record-maker, Gravity Without Airs fulfills his poetic aims as well as any recording he has made. This work finds Knuffke in the rare, even unique, trio format of cornet, piano and double-bass. His partners are two ever-estimable pillars of creative music, and the work they've created together here brims with melody and mystery, intimacy and dynamism. Regarding the album title, Knuffke explains: 'I was reading Meditations by Marcus Aurelius while preparing for this recording. He used the phrase 'gravity without airs', and it stuck with me. That's what it's all about! Being heavy but not putting on airs -- that's what my favorite musicians do. In these days of social media and constant hype and self-promotion, this is what we should really aspire to: do the work and study, get into your thing and avoid showing it off half-cooked. Matthew and Michael have that sort of grace. I was really touched because once we started playing, they both got excited and wanted to play more and more -- that's how we ended up with a double album,' Knuffke recalls. 'I hope people can listen to it as a whole, so they can hear all the subtleties as well as the shape and flow of the album. I have to say: I'm especially proud of this one.' Liner notes by Francis Davis." "Rhythmically precise, New Orleans funky and full of grace, Kirk Knuffke's music is a reflection of his multifaceted personality: part musical sage, part jazz philosopher, a self-taught musician with wide interests, endless curiosity and an abundance of good humor." --DownBeat
TRAUMTON RECORDS (GERMANY)
CAT #: TRAUMTON 4706LPSHAKE STEW Heat 2LP
Double LP version. The shooting stars of Shake Stew, who were awarded the German Jazz Prize in the category "Band of the Year International" in 2021, present their fifth album, Heat. A mix of hypnotic Afrobeats and ecstatic sound eruptions that is absolutely addictive. Hardly any other band has turned the Central European jazz scene upside down in recent years like Shake Stew. While the ZEIT called them "Austria's jazz band of the hour" and the NDR elevated them to the status of a "cult band" early on, it has been clear since the awarding of the German Jazz Prize 2021 in the category "Band of the Year International" at the latest: something has started rolling here that has never existed in this form before. From the very beginning, the formation brought to life by bassist and composer Lukas Kranzelbinder is surrounded by something mystical, which in a live concert ignites an immensely absorbing effect that few can escape: "The unspoken magic words are magic and energy -- Shake Stew brings something cultic to current jazz, an enrichment!" writes the jury of the German Record Critics in their reasoning for the inclusion in the Best List 2020. And the British magazine MOJO gets even a touch more physical: "Able to blind you into a trance and make you dance to your knees, Shake Stew twists, blisters and burns like a fevered dream!" Despite their unusual line-up with two drums, two basses and three horns, the band always manages to catch their listeners of all ages in an incredibly direct way -- whether in front of a standing audience in a packed club or in the sold-out Great Hall of the Vienna Konzerthaus. Hypnotic Afrobeat and driving rhythms have characterized the band's sound from the beginning, but just when you think you have deciphered the magic formula of this musical stew, Shake Stew reveals the entire sonic range of its unique instrumentation. On the verge of absolute silence, sound formations emerge as if conjured from nowhere, bobbing along on trance-like repeated bass lines and finely tuned gong patterns, touching you at least as deeply in their tranquility and fragility as the groove explosions that precede them. "Something emanates from this band that is new and special -- and immensely attractive," wrote the ZEIT in its analysis, and no matter which side of Shake Stew ultimately carries you along more violently. Your body will keep swinging long after the last note.
CAT #: UT 060UGLY THINGS #60 MAG
"We have an extraordinary Velvet Underground cover story this issue exploring Lou Reed's early days at Pickwick Records and the momentous first meeting of Lou Reed and John Cale. This issue also features Detroit '70s proto-punk rockers the Dogs, Canadian psych legends the Jarvis Street Revue, Hollywood '60s teen garage band Malibalavi, UK freakbeat outfit the Roger James Four, Part 2 of the story of Chrome, Nanette Natal, and expansive interviews with Colin Blunstone of the Zombies and Jorma Kaukonen of Jefferson Airplane. All this and much more, including our popular review sections, covering all the latest vinyl and CD reissues, and rock 'n' roll-related books"
CAT #: VP 4239LPUPSETTERS, THE Return of the Super Ape (2022 Remaster) LP
Reissue, originally released in 1978. "Return of the Super Ape was the final revelation from Lee Perry's Black Ark Studio before it close, a psychedelicized dub journey into uncharted sonic territories. Return of the Super Ape is the follow-up to the highly acclaimed dub album Super Ape. Just like the predecessor, the album was produced by Lee 'Scratch' Perry. It was the last album by the Upsetters before Perry closed down his Black Ark Studio. The album showcases yet again the prodigious production skills of undisputed dub master Lee "Scratch" Perry's insanely layered textures and technical wizardry, with the Upsetters providing their musical backing. Now freshly remastered and restored for 2022 with original press artwork complete with inner disco sleeve."
CAT #: WWSLP 012LPSATO, HIROSHI Orient LP
2022 repress; LP version. Wewantsounds present a reissue and the first international release of Hiroshi Sato's ultra-rare synth masterpiece, Orient, originally released in 1979 on Kitty Records in Japan only. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as "Son Go Kuw" and "Do-Jo" popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson's "Significant Album" List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up. "Breezy Balearic synth pop with a Nippon twist" --The Vinyl Factory.new releases are also viewable at https://www.forcedexposure.
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