Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976 on Wizard Records. This is the first time the original LP, with artwork, has been made available again. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan's earliest compositions, researching the possibilities of the voice, in two rigorous études, "Circular Song" and "Voice Piece: One-Note Internal Resonance Investigation", and the more free-form "Vocal Extensions", which uses live electronic processing. "My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts," she says. "At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service." Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. "I did commercials, which, strangely enough, led me to Steve Reich," she says. "A composer I was working with, Michael Sahl hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of "Drumming", imitating the marimba."
The Ladies of Too Slow to Disco
With The Ladies of Too Slow to Disco, the How Do You Are? label takes a look at the women who kick-started the female pop revolution in the '70s -- not only covering the big names like Carole King, Carly Simon, or Rickie Lee Jones, but also unearthing lots of overlooked and lost gems of the 1970s LA music scene. As with the two previous Too Slow to Disco compilations, the goal is to reinstate a few unjustly overlooked talents. But above all this is about the music; that vaulting ambition that pours out of these arrangements, lyrics, and melodies, all played by the finest musicians the LA scene could muster. So take a trip and round out your picture of a decade. The style is still Too Slow to Disco. But the inspiration and the achievement is all woman. These much-loved compilations are the brainchild of Berlin cratedigger DJ Supermarkt, the musical luminary who brought J-pop to discerning Western ears back in the late 1990s with his Bungalow Records label and who has been a champion for the reappraisal of smooth music for decades. The first two volumes of Too Slow to Disco were both rightly acclaimed as Best Compilation of the Year by Rough Trade, and this installment brings together another kick-ass roster of lost pop gems. Includes 16-page booklet with liner notes. Includes tracks by Evie Sands, Rickie Lee Jones, Laura Allan, Melissa Manchester, Franne Golde, Valerie Carter, Teri DeSario, Carole Bayer Sager, Carly Simon, Jaye P. Morgan, Lauren Wood, Renée Geyer, Maria Muldaur, Brenda Russell, Leah Kunkel, Amy Holland, Carole King, Doris Abrahams, and Lyn Christopher.
First vinyl reissue. Limited edition of 500 orange LPs (vinyl only; no digital release). Remastered from the original reels. The sought-after experimental gem Il Mondo Dei Romani, by soundtrack and avant-garde maestro Piero Umiliani, is now available on vinyl for the first time since its original release in 1972. Originally recorded for a TV documentary about ancient Rome and released on Umiliani's Omicron label, Il Mondo Dei Romani finds Umiliani experimenting with electronic instruments (Suoi Oscillatori or "his oscillators") to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like. It's a weird and extremely hypnotizing retro-futuristic experience of faux cithara, lyre, organ, and trumpet sounds driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to We Release Whatever The Fuck We Want Records' previous Umiliani reissue, Tra scienza e fantascienza (WRWTFWW 003LP, 2015). Born in 1926, Piero Umiliani began his career as a jazz pianist (occasionally recording with Chet Baker) and started working on film soundtracks in the late '50s. Known as the man who brought jazz to Italian cinema, he left his mark on a long series of notorious giallo and mondo movies, soft sex films, and Eurospy thrillers, garnering praise for mastering sleazy funk, experimental electronica, and jazzy themes, and making a name for himself among his peers, including Ennio Morricone or Riz Ortolani. It was with the 1968 Italian mondo film Sweden: Heaven and Hell that Umiliani landed his biggest hit, "Mah Nà Mah Nà" (originally "Viva la Sauna Svedese" ("Hooray for the Swedish Sauna")), which would later be used on Sesame Street, The Muppet Show, The Benny Hill Show, and many more.
A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 5 In this issue: Ira Kaplan: SFO Super Shuttle VS Hollywood Town Car; Byron Coley & Thurston Moore: Bull Tongue column; Rej T Broth: A Field in England; Michael Hurley: The Accountant; Chris D: Alain & Romy; Alan Bishop: Another Victory for the World's Greatest Game; Leah Singer: Louis Armstrong House; Tom Givan: Best Sellers; Marie Frankland: Big Berghain; Scott Foust: The Big Bluff; Tara Young: David Bowie live at Fort Apache; Tosh Berman: David Bowie & Scott Walker Punched; Mats Gustafsson: Polly Bradfield Solo Violin Improvisations; Matt Krefting: Call Me Lucky; Todd Abramson: Candlewood Suites, Jersey City; Kendra Smith: Chirgilchi Collectible; Ariella Stok: Ornette Coleman's Funeral; Trevor Block: Compilation Albums; Samara Lubelski: Keith Connolly interview; Bruce Russel: Guy DeBord Panegyric; Barbara Manning-Vargas: Die Art Fuer Immer und Ewig; Brigid Pearson: DOOB3D; Sharon Cheslow: Dust on the Nettles; Tesco Vee: Fanzines, Bomdage, Death Threats & the FBI; Suzy Rust: Five-and-a-half Tragic Cleaning Ladies; Ray Farrell: John Fogerty; Beans McCuttone: Romain Gary The Talent Scout; Jessi Leigh Swenson: Get in the Car, You Herbs; Naomi Yang: Girls About Town; Richard Meltzer: Greater and Grander; Brian Turner: Alexander Haacke interview; Chris Stigliano: Hawkwind live Birmingham; Bree: Hermitage; Andrea Feldman: Ilitch & Ruth; Phil McMullen: In Gowan Ring The Serpent & the Dove; Dylan Nyoukis: Joe Jones Solar Music at Sierksdore; Todd Abramson: Two Paragraphs about Bob Lawton; Charles Plymell: Mirian Linna Down Today; Tony Rettman: Ross Lomas City Baby; John Sinclair: Steve Mackay; Bree: Medicaid; Joe Carducci: Alexander Medvedkin and Chris Marker; Ashley Meeks: Melancholia; Irene Dogmatic: Claire Messud The Last Life; Hisham Mayet: Musical Genres Researched in 2015; Michael Layne Heath: Night Final: a Short Story; Nick Mitchell: No Form; Georganne Deen: Lewis Nordan Wolf Whistle; Lili Dwight: November Sundays; Christina Carter: Novitate Phenom; Alex Behr: Observations on a Miscarriage; Emma Young: On Side A; Gregg Turner: Open Mike; Tom Greenwood: Open Space Preserve; Tom Lax: Pass the Ronco I Think I'm Popeil; Suzy Rust: Rags October 1970; Tom Lax: Regurgitations of a Ruminant; David Greenbereger: The Rise to Power of the Letter U; Eddie Flowers, Pamela Beach-Plymell, Georganne Deen & Ira Kaplan: Rock-a-Rama short format reviews; Orchid Spangiafora: Rocket from the Tombs live at Johnny Brenda's; Andy Schwartz: Otis Rush & Albert King; John Sinclair: Rollins/Monk More Than You Know; Emily Hubley: Room; Karen Consytance: Selbe Gehort Musik; Rej T Broth: Nina Simone at Montreux; Owen Maercks: Some Notes on the Guitar; Donna Lethal: Spell M-A-N; Joanne Robertson: Lucy Stein interview; Erika Elizabeth: The Suburban Homes; Sharon Cheslow: Eva Svankmajerova; Maria Kozic: Svengoolie; Marc Masters: Carter Thornton Mapping the Ghost; Hisham Mayet: Trinidad; Gerard Cosloy: Wendy's SF; Lisa Marie Jarlborn: What Do Women Want; Angela Jaeger: What's Your Sign?; Nigel Cross: Wilde Flowers; Bree: Writing Books of Poetry.
Ennio Morricone's legendary soundtrack for the 1968 film Il grande silenzio (The Great Silence), directed by Sergio Corbucci and starring Jean-Louis Trintignant and Klaus Kinski. This melancholic, emotive score, deeply moving and as cold as the snow-covered landscape of the film (an unusual stylistic choice for a Western), is considered one of the best Western works by Morricone since his collaborations with Sergio Leone for the classic Dollars Trilogy and Once Upon a Time in the West. First vinyl reissue. Double-colored vinyl. Limited edition of 500.
The Saturn Singles Vol. 1: 1954-1958
Herman Poole Blount, better known to the world as Sun Ra, lived more musical lives in his 79 years on this planet (and others) than seems possible. In the '30s he was the most rigorous bandleader in Birmingham, heading the Sonny Blount Orchestra and filling every waking moment with music or philosophical discussions; by the '40s he had moved to Chicago and performed with luminaries such as Wynonie Harris, Fletcher Henderson, and Coleman Hawkins. By the '50s he had changed his name to Sun Ra and began performing with longtime Arkestra bandmates John Gilmore and Marshall Allen. Sun Ra started his own label, El Saturn (or Saturn), to release his own recordings as well as those featuring the Arkestra backing local R&B and doo-wop groups. Though the genres showcased here are more pop than the world has come to expect from Sun Ra, the vibe and feel is purely cosmic, producing some of the wildest, strangest R&B ever created this side of the sun. Essential early Sun Ra performances and productions, 1954-1958.
"Much has been made of the nesting compulsion that overtakes expecting parents. It's fair to suggest that this album owes its name to the fact that Asheville NC residents Tashi Dorji and Shane Parish were both looking forward to parenthood when they made it, and not much of a stretch to say that it expresses something that they both had to say before the babies arrived. That message is one of two guys bonding over shared understandings. They've been known each other for over a decade, during which time they've played both as a duo and as parts of larger ensembles. Both play guitar, and while their discographies map quite disparate interests, they share a devotion to the guitar as a vehicle for improvisation. The eight improvisations that make up Expecting grow out of a dynamic of sharing -- one fellow shows up with a tuning and maybe a string preparation, the other works out a response, and out of that comes not only a piece of music but a renewal and confirmation of a relationship in which two humans share what they love. Expecting parents tend to be anxious ones. Titles like 'Dust Of Dust,' 'Storm Sinks Boat,' and 'Break Up' give the impression that Dorji and Parish weren't free from trepidation when they made Expecting, and the record's discordant moments back it up. Nowadays writers are quick to lay the term experimental music on anything dissonant. But while one could say that this music actually earns that much-abused term because it comes out of a process of proposal and problem solving, an emotionally truer term would be experiential music. It came out of Parish and Dorji's real time communion, and it is informed by their shared history. For them, making the music was an experience; playing the record imparts a different experience, one of receiving rather than making, but it still expresses a dynamic of exchange." --Bill Meyer, Berwyn, Illinois, USA, January 31, 2016
Stockholm-based musician and producer Martin Herterich has released and performed under various guises since the mid-2000s, with Sand Circles being both his longest-running and most recognized project. With this reissue of Motor City (originally released on cassette in 2012 by Not Not Fun Records), Sand Circles' first major appearance on vinyl is rightfully made with his most important work. The arpeggiated motifs that circle Herterich's hazy rhythms, as well as the cool-dawn synths, casually point to Detroit from a distance, while the tape-saturated, cinematic synth lines and the simple electronic percussion present the idea of a metropolis.
Remastered limited-edition reissue of this 1971 Brazilian samba/jazz rarity, for fans of Cartola, Bezerra da Silva, Caetano Veloso, João Donato. Jorginho Gomes Pessanha (1931-1981) released two solo albums in the 1970s. Born and raised in the Parada de Lucas neighborhood of Rio de Janeiro, Pessanha was the son of the founder of the United Samba School Chapel. Pessanha ultimately joined the hugely influential Imperio Serrano school of composers under the tutelage of Imperio president Moacyr Rodrigues, who was part of Brazil's delegation to the First World Festival of Black Arts in Senegal in 1966. This is a hard-to-find piece of first-tier Samba, recorded in 1970, which will appeal to fans of Brazilian funk and jazz. Easily the rarest and best work by one of Imperio Serrano's major figures.
Juan Atkins and Moritz von Oswald -- the two indispensable protagonists of the "Electric Garden" -- plug back into the wilderness. Transport brings together a set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not on the grid. The Detroit-Berlin axis triangulates to a third point that, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz that cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making. The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for 60 seconds in every minute. CD version includes exclusive transitions.
You might not have come across Melbourne's Kane Ikin before, but he's far from a newcomer. A member of experimental duo Solo Andata, Ikin also released material on Taylor Deupree's influential 12k imprint, working with a variety of different sounds and elements over the last decade. Modern Pressure is a milestone for Ikin, written at a trying time that was the producer's hardest financially but most creative musically. Selling equipment to pay the rent, Ikin wrote track-after-track in quick succession to hone his skills, using the process as both a form of escapism and reflection. The resulting album is a mirror of this struggle, a collision of stomach-churning bass and searing percussion that overwhelms your senses, staying with you long after the music has subsided. Ikin manages to harness a variety of influences, folding the sound of early '80s industrial tapes and no wave with the relentless pulse of house and techno, the intense low-end of hardcore and the eerie mood of John Carpenter's most menacing soundtracks. It's an album with a defined narrative that looks to the past without ever losing sight of the future. Dark, shimmering and textured, Modern Pressure is an album for our era - damaged, but not without hope. Mastered & Cut by Matt Colton. Edition of 500 copies.
The first part of a four-part vinyl edition of Tenniscoats' masterpiece Music Exists, a work of intimate, wonderful, psychedelic folk music. Includes double-sided fold-out insert. Tenniscoats have devoted followers all over the world, but their releases have always been hard to find outside of Japan. Except for their album Tokinouta (2011), which saw a very limited run on vinyl, and the seminal Two Sunsets, their 2009 collaboration with The Pastels (and a small handful of 7"s), there were never any vinyl releases, and the CDs were hard to get for anyone who doesn't speak or read Japanese. So this release is a chance to dive deep into the beautiful, unique world of the Tenniscoats and their magnum opus Music Exists. Tenniscoats are a duo that has enjoyed a long career in the music scene of their home country of Japan since their formation in 1996. They have collaborated with unique artists from different backgrounds (Tape, The Pastels, Pastacas, Jad Fair) while maintaining their own laid-back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence. Music Exists previously saw a limited release on the Tenniscoats' own Majikick label in 2015. "We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album." Tenniscoats wrote and recorded the album themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material, showcasing their unique combination of melodies and unexaggerated arrangements. Co-released by the Germany-based Alien Transistor label and the Tokyo-based Afterhours magazine and label.
Dennis Young is best known as the percussionist of the New York band Liquid Liquid, who are themselves known for their 1983 track "Cavern," sampled the same year by Grandmaster Flash for "White Lines." In parallel to his work with Liquid Liquid, Young produced his own solo work, including three cassettes released between 1985 and 1988 that form his tribute to the pioneers of electronic music. Wave: Electronic Music 1984-1988 contains the best pieces from these cassettes, as selected by Young himself. Those who don't know otherwise might guess that this music originated in the '70s. As Young recalls, "My love for electronic music goes back to the late 70's when I decided to buy my first synthesizer, a rare used vintage Davolisint made in Italy, after seeing Keith Emerson perform live with ELP. This lead to my discovery of more electronic music artists using synthesizers such as Klaus Schulze, Tim Blake, Larry Fast, Edgar Froese, Brian Eno, and Cluster just to name a few. My musical challenge was then to create my own electronic music using this instrument. After experimenting in the early 80's with live recordings using a reel to reel tape machine I purchased my first multi-track recording system in 1984. When Liquid Liquid was on hiatus I was able to devote full time to this music and do professional recordings at my home studio in Edison, New Jersey. I added more synthesizers to include a Korg Mono/Poly, a Korg Poly Six, a Moog Rogue, and later the Korg M1. Every track was put through various delay and reverb units and I added vocal parts and along with guitar where I felt it was needed. The music resulted in three now out of print cassette only recordings entitled Concepts (1985), Reflections (1987), and Quest (1988). They were all mixed at Gabriel Farm studios in Princeton, New Jersey, with the help of Andrew Gomory who owned the studio and who himself was a keyboardist. Thanks to Bureau B I have been able to go back in time to put together what I feel are the best songs from that era for you the listener to enjoy." --Dennis Young
DJ and producer Charles Maurice follows 2015's AOR Global Sounds 1977-1982 (FVR 108CD/LP) with Volume 2, digging even deeper lost international productions for eight forgotten, rare tracks produced between 1975 and 1983 around the globe. At the end of the '70s, many artists all over the world were deeply influenced by such AOR stars as Steely Dan and their classic 1977 Aja LP and strove for the same attention to sound production and detail; this specific West Coast style mixed with pop rock standards, soul, disco, and jazz influences. From the Renée Geyer Band in Australia and Boban Petrović in Yugoslavia to the Carol Ray Band in France and Greg Yoder in Hawaii, Maurice constructs another hot selection of lost tracks clearly infused with this special AOR touch. Fully remastered from the originals with the same attention to sound quality as on the first volume. Also includes tracks by Jay Days, O Ji Ji, Robert Cotter, and Byrne & Barnes.
Reissue of Dreamer of Life by Greg Yoder, a killer private-press AOR LP infused with folk, jazz, and soul notes. One of the best albums from the Hawaiian scene in this style, fully restored and remastered with great attention to sound quality. Originally from San Francisco, Greg Yoder moved to Hawaii in the early '70s and, after achieving some local fame in the Waikiki area, recorded this one-off LP in 1976 at Audissey Sound studios in Honolulu. The music is smooth and soothing, mixing xylophones, percussion, sweet guitars, and brilliant orchestrations. In short, Dreamer of Life is full of hidden hits and flawless from the first note to the last. Following his various projects at Favorite Recordings, DJ and producer Charles Maurice unveiled this masterpiece in 2016 by selecting the song "Things Were So Easy" for the AOR Global Sounds 1975-1983 Volume 2 compilation (FVR 116CD/LP). And after the label contacted Greg Yoder about it, the idea of reissuing this amazing album quickly became obvious. After its various compilations since 2014, Favorite Recordings is more eager than ever to recover forgotten rare-groove music.
Dr. Tee Mac Omatshola Iseli aka Tee Mac is a Nigerian multi-talented maestro flutist with cross-cultural Itsekiri and Swiss roots. He combined his first degree in economics from the University of St. Gallen in Switzerland with a specialization in classical music concert performance and philharmonic compositions at the University of Lausanne. During a rich career spanning over 40 years, Tee Mac formed numerous bands including Tee Mac & Afro Collection in the 1970s with notable Nigerian artists. He recorded his first LP, United, for Polydor International in Germany, with his European band, Tee Mac United, in the late '70s. He then hit the global music charts with two songs -- "Fly Robin Fly" and "Get Up & Boogie" -- and toured extensively with his third band, Silver Convention. With Tee Mac's agreement, Hot Casa has selected the best of his repertoire. This long-awaited best-of collection is juicy, hot, and explosive, threatening to shatter all existing records. Seven beautiful and rare tracks from his albums Party Fever (1978), Mixed Grill (1979), and Night Illusion (1980), with top musicians individually displaying their skill and collectively delivering a classic repertoire. 180-gram LP in gatefold sleeve.
LP version. Sly Dunbar and Robbie Shakespeare are simply known all around the world as Sly and Robbie. They were the musical drum and bass backbone of Reggae since the early 1970's. They have played on more records than any other set of musicians and to such a high standard that few could reach. The third part of the jigsaw is the mighty Bunny 'Striker' Lee who brought these legends together. These rare dubs are taken from the original master tapes. You may have heard the tunes before, but never these versions. So sit back and enjoy reggae musical history in the making. Respect Jah Floyd.
Originally released in 1964, My Name Is Albert Ayler is the debut album by legendary free jazz saxophonist Albert Ayler. Recorded in Copenhagen with a Scandinavian rhythm section, this album sets the stage for the sheer brilliance that was to come. Although the backing band plays fairly straight-ahead bop and feels out of place at times, it doesn't detract from the program as a whole, as Ayler's singular sound shines through. This is especially true on the absolutely stunning version of "Summertime." An essential piece of the unique Albert Ayler puzzle, documenting one of the most important jazz musicians of the 20th century.
Oren Ambarchi, Stefano Pilia, and Massimo Pupillo (Zu) team up for an instrumental trip bridging post-rock, drone, and improvisation. Limited 180-gram LP in silk-screened sleeve with artwork by Sara D'Uva. Includes download code. Since the late '90s Oren Ambarchi has been exploring new ground as composer and multi-instrumentalist (mainly focusing on guitar), fusing a wide range of influences and inspiration from improvisation, contemporary music, modern electronics, and rock, and has been building an impressive catalog of solo and collaborative albums with such acclaimed artists as Keiji Haino, John Zorn, Otomo Yoshihide, Jim O'Rourke, Phill Niblock, Evan Parker, and Sunn O))). Bassist Massimo Pupillo has gained high reputation as founding member of Italian jazz-core trio Zu and in different projects and collaborations with F.M. Einheit, Mats Gustafsson, Lasse Marhaug, and both Brötzmanns (Peter and Caspar). Last but not least there's Stefano Pilia on guitar, member of the Belfi/Grubbs/Pilia trio and collaborator of Mike Watt (in Il Sogno del Marinaio), Rokia Traoré, David Tibet, John Parish, and Giuseppe Ielasi. On Aithein, recorded live in Bologna in April 2015, the three embark on a captivating trip that starts quietly with reductive sounds only to raise volume and intensity on its way toward a cathartic peak. Oren Ambarchi: guitar, drums; Stefano Pilia: guitar; Massimo Pupillo: bass.
"By September of 1978 Weather Report's headlining status afforded them the opportunity to play a very long set amounting to two hours in length. Given the previous year's success with the poll winning Heavy Weather album one might have expected them to concentrate on this more or less exclusively, but instead, fans were treated to material from right across the bands career and solo spots by everybody. 'Black Market' opens this concert and straight away it's apparent that the energy level is high and the relaxed pace of the studio version has been superseded by a slightly faster tempo. An explosive tenor and drum duet by Shorter and Erskine also forms part of this and must have surely put an end to the feeling in some quarters at the time that the saxophonist was no longer at his best. Also on board were flamboyant electric bassist Jaco Pastorius, a genuine innovator, and newly arrived drummer Peter Erskine a master technician brought into the group to add more of a jazz feel. Joe Zawinul was keen to stress that Weather Reports music was their music, a product of the group's identity, and not simply jazz-rock akin to that of many bands of the time. Although he was known for his strong opinions it's clear that no other group mixed improvisation, formal structures and electronics quite like them. One night in Germany is clear proof of this."
Double LP version. Magical, mystical, and straight from the heart; following Until Then, Goodbye (2009) and A Day in the Life (MUSIQ 046CD/180LP, 2014), the Hamburg-based art curator, DJ, and producer Lawrence presents Yoyogi Park, the third part of an album trilogy for Mule Musiq in collaboration with artist Stefan Marx. The album explores the intersection of Lawrence's own ambient productions, acoustic sound experiments, and the driving force of the dancefloor. The artwork shows a 360-degree view of Yoyogi Park in the heart of Tokyo, which Stefan Marx created for a fanzine for Printed Matter's NY Art Book Fair in 2015. Beyond the gorgeous greenery of Yoyogi Park lies craziness and mystery, and behind Lawrence's abstract beats and compelling functionality lies a magical full-color palette of mind-expanding sounds. Some of the tracks on Yoyogi Park contain live samples of Sky Walking (Lawrence's band with Christian Naujoks and RVDS) and some incorporate field recordings of streets and parks, while other tracks are versions of previously released, dreamily sublime ambient tracks. A one-of-a-kind blend of varied, deep, widescreen, and star-crossed electronica, romantic and enchanting. Lawrence's excellent recordings seduce with in-depth house rhythm sensibilities while spreading otherworldly melodies. Once again, he produced these vividly immersive tracks on the road. Some he started in his cozy backyard studio in Hamburg; he crafted others between cities like Berlin, Buenos Aires, New York City, and Tokyo. They all share some analog warmth while spreading mystery and allure, coming together to form a compelling whole. And although the album is made for the dancefloor, its shimmering brilliance goes far beyond usual club music euphoria. Wonderful, compelling stuff that could be the perfect starting point for anyone interested in delving into Lawrence's unique world of intimate, subtly shifting grooves and tones -- an enchanting world where feelings unfold in rhythms and melodies.
The third LP by Generation X's original line-up, recorded in 1979 and unreleased until 1998. An essential piece in the discography of one of the original UK punk bands. 180-gram LP. "In early 1979 Generation X went to the English countryside to write and 'routine' the band's third album. We felt we had a new sound, simple songs delivered with more space than most rock'n'roll, so we went into Olympic Studios in Barnes, London and began recording with the house engineer, Doug Bennett, as co-producer. Most of the songs were recorded before our tour of Japan in June '79. On our return Billy came into the studio with an outline of a song called 'Dancing With Myself'. We went to work on it and pretty much finished it quickly and we felt it was the song to lead the album, a single I guess. . . . Then I left the band at the end of the year and carried the fuckin' stack of 1/4'' master tapes around the world for many years. A year or so later they changed the band name to Gen X and re-recorded four or five songs for the album Kiss Me Deadly. Billy later released the re-recorded version of 'Dancing With Myself' for his solo career in America and the rest is history. . . . After years in storage my tapes were nearing the end of their life, so I digitized them in order to save this lost treasure. I named the album KMD Sweet Revenge. Some time later the album was released in Germany, Japan, Spain and supposedly the USA, however the release in America was quashed until Capitol Records put out their own version within a 3-CD anthology of the band, using some different mixes of the songs from cassette tapes. The recordings are almost complete minus a few guitar solos and final mixes. Time on Generation X had run out, but this album clearly shows the direction the band were heading and is worth documenting and certainly worth playing. For your pleasure . . . Sweet Revenge." --Bob "Derwood" Andrews
"X provided that rare mix of songwriting, personal charisma and musical expertise. More than any other band, their personalities were evident in their music, and were never even slightly conventional or dull. We'd been good friends with X for some time. I'd actually been in an early incarnation of X. We used to play at their house. I played an electric piano that I think Billy Zoom provided. It was just something that was lying around. That didn't last for very long." --David Brown
DJ Koze presents Pampa Vol. 1, the first compilation from his Pampa label. From 2014-2016, the label chased down friends and admired artists, making sure that every single track is a star. All tracks have been produced exclusively for this compilation and haven't been released before. Includes tracks by Lianne La Havas remixed by Matthew Herbert, Roman Flügel (including a remix by DJ Koze), Ada, Axel Boman, Nasrawi, Funkstörung, Jackmate feat. Nik Reiff, Lawrence, Dntel, Josef, Michel Cleis, Die Vögel, Mount Kimbie, Stimming, Isolée, Jamie xx & Kosi Kos, Gold Panda, and Acid Pauli. Double CD version in pocketpac sleeve.
Aakash marks the debut recording of the Portland, Oregon-based trio of Matt Carlson (Golden Retriever), Michael Stirling (a disciple of the late Hindustani master Pandit Pran Nath and a student of Terry Riley), and Doug Theriault. Derived from live improvisational performances, the record finds Carlson's rich analog synthesizers joined by real-time processing of Stirling's lilting voice and Theriault's idiosyncratic guitar work and electronics. Dipping into a kind of liminal void, Aakash isn't just cosmic raga. It's a subtle journey; microvisions of inner terrain. Includes download code.
Last Evenings On Earth LP+CD
Same Animal, Different Cages Vol. 1: Études For Acoustic Guitar LP
Root Hog or Die: 100 Songs, 100 Years - An Alan Lomax Centennial Tribute 6LP BOX
Miscellany - Lussuoso (electronics: 1990 To 2015) 3CD
Crooks, Crime & Corruption 2LP
Outside The Dream Syndicate LP
Dub Sessions 1978-1985 CD
Dub Sessions 1978-1985 LP
Crooks, Crime & Corruption CD
Janis: Little Girl Blue DVD
Rockpalast, Offenbach 1978 2CD/DVD
Don't Give Way To Fear 12"
All The Saints Have Been Hung 12"
Voice Is The Original Instrument LP
Mississippi Grind Complete Collection (Original Motion Picture Soundtrack) 2LP
Case Studies In Early Taxidermy Techniques 20CD BOX
Everything Under The Sun CD
Dark Star (Original Motion Picture Soundtrack - Expanded & Remastered) CD
Bringing It All Back Home Again 12"
Thank God for Mental Illness LP
We Got The Neutron Bomb 7"
"T" Stands For Trouble/Enter The Dragon 7"
Wave: Electronic Music 1984-1988 CD
AOR Global Sounds 1975-1983 Volume 2 CD
AOR Global Sounds 1975-1983 Volume 2 LP
Feelings of Entropy EP 12"
Modes Réels Collectifs CD
Réalité De L'Automation Directe CD
Fondements Bruitistes 2CD/BOOK
Il Grande Silenzio (The Great Silence) LP
Charcoal Eyes: A Selection Of Remixes From Amsterdam CD
I'm Starting to Feel Okay Volume 7 Part Two 12"
Jean-Luc Godard: Bandes Originales 1959-1963 LP
My Name Is Albert Ayler LP
Magnetophonics - Australian Underground Music 1978-1984 7LP BOX
The Ladies of Too Slow to Disco CD
Selected Label Works 5 2CD
An Anthology of Turkish Experimental Music 1961-2014 2CD
Copenhagen March 24th 1960 LP
Roman Flugel & Benedikt Frey Remixes 12"
The "Chirping" Crickets LP
Bu/Bu-Musikverbreitung - Recordings 1980-1985 4LP BOX/7"
Musikantenmusik 1980-1984 2LP
Prazisionsmusik 1982-1985 2LP +7"
ABCD/Let's Get Rid Of New York 7"
Nothing Means Nothing Anymore/Gimme A Little Pain 7"
The Saturn Singles Vol. 1: 1954-1958 LP
Mingus Mingus Mingus Mingus Mingus LP
Velvet Underground And Nico PIC. DISC
198 Seconds Of The Dils 7"
Dusseldorf March 28th 1960 LP
Balance Presents Patrice Baumel CD