For Sepp (Selections from the Edgar Allan Poe Suite)
Over the course of five decades, the legendary Austrian free jazz collective Reform Art Unit (and their offshoot groups) have collaborated with countless musicians, including Don Cherry, Carla Bley, Evan Parker, and Jim Pepper. Documented collaborations with free jazz notables include Impressions (Kovarik's Musikothek, 1978) with Anthony Braxton and Clifford Thornton; Subway Performances (Granit, 1994) and Illumination (InRespect, 1995) with Sunny Murray; and With Milo Fine (Granit, 1999). Milo Fine's lengthy resume includes numerous records as leader of his own group (the Milo Fine Free Jazz Ensemble) as well as collaborations with Joe McPhee (MFG in Minnesota; Hat Hut, 1978, & Old Eyes; Hat Hut, 1979) and duo encounters with Derek Bailey (Scale Points on the Fever Curve; Emanem, 2003) and Anthony Braxton (Shadow Company; Emanem, 2004). In May of 2015, Fine fulfilled a personal ambition by hosting the first North American appearances of Reform Art Unit founding members Fritz Novotny and Sepp Mitterbauer. Three nights of extraordinary and intimate concerts ensued at Minneapolis' Studio Toile d'Angles. This limited edition LP was culled by Nero's Neptune from over three hours of material, and consists of three pieces featuring two sextets and one nonet. Joining the core members of reformARTwest (Novotny: soprano sax/flutes/percussion; Mitterbauer: trumpet/percussion; Fine: drum set/piano/clarinets) are Elaine Evans, Daniel Furuta, Benjamin J Mansavage Klein, Davu Seru, Charles Gillett and Paul Metzger. For Sepp is dedicated to the living memory of Sepp Mitterbauer, who died on December 9th of 2015. Mastered by Carl Saff. Housed in a beautiful, tip-on jacket with full color artwork. Edition of 300.
Space Echo: The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed
Analog Africa presents a compilation of dancefloor grooves from Cabo Verde, revealing the mystery behind the island's cosmic synth sound. Located 350 miles off the coast of Western Africa, Cabo Verde (or Cape Verde) is an island country that was first incorporated as an overseas department of Portugal in 1951 before later attaining independence in 1975. This collection captures a vital musical period during the late '70s and early '80s when the introduction of synthesizers facilitated the modernization of local rhythms such as Mornas, Coladeras and the highly-danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality. In the spring of 1968 a cargo ship containing instruments made by many of the leading companies in the field of electronic music -- including Rhodes, Moog, Farfisa, Hammond and Korg -- set out for Rio De Janeiro, where the Exposição Mundial Do Son Eletrônico Exhibition was going to be held. The expo was the first of its kind, where companies were eager to present their newest synthesizers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia. However, the ship with the goods mysteriously disappeared from the radar on the same day it set sail. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields 8 km from any coastline. Mystery permeated the event. Cosmic particles were said to have been discovered on the boat, where the bow of the ship showed traces of extreme heat similar to traces found on meteors. A team of welders arrived to open the containers. Hundreds of boxes contained keyboards and other instruments they had never seen before: and all useless in an area devoid of electricity. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass. It is said that charismatic anti-colonial leader Amílcar Cabral had ordered the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was the best thing that could have happened -- keyboards found fertile grounds in the hands of curious children, who picked up the ready-to-use instruments. The children who came into contact with the instruments found on the ship were said to have inherited prodigious capabilities in understanding music and learning the instruments. One of them was the musical genius Paulino Vieira, who by the end of the '70s would become the country´s most important music arranger. Eight out of the fifteen songs presented in this compilation were recorded with the backing of the band Voz de Cabo Verde, led by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde." Tracks by Abel Lima, Antonio Dos Santos, Elisio Vieira, Americo Brito, Os Apolos, João Cirilo, Tchiss Lopes, Quirino Do Canto, Pedrinho, Fany Havest, Bana, José Casimiro, Dionisio Maio and António Sanches. CD includes 44-page booklet with extensive liner notes.
The remarkable series of releases from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi continues with I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse, which presents the entirety of an 80-minute set performed at Tokyo's SuperDeluxe in March 2014. While the trio's 2012 performance was divided into two releases (BT 011LP (2014) and BT 012LP (2015)), the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino's 1995 classic Tenshi No Gijinka, the first side is dominated by Haino's impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. The end of the second side presents a special treat: Haino's first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. O'Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O'Rourke's bass, which takes center-stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the set's third side, he gestures as much toward Ronald Shannon Jackson's stuttering marching band funk as toward any classic rock moves. When the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio's previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. Gatefold sleeve with gorgeous photographs by Jim O'Rourke, designed by Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin.
Christian Naujoks follows his 2009 self-titled debut (DIAL 013CD) and his piano-focused 2012 follow-up, True Life/In Flames (DIAL 024CD/LP), with his third album, Wave, a work dedicated to the electric guitar. Inspired by The Durutti Column, John Fahey, Vincent Gallo, Azalia Snail, David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism; between folk music and contemporary art. The recording sessions at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his work with Kreidler, Faust, Felix Kubin, and Pantha Du Prince & The Bell Laboratory, to name a few. With Wave, Naujoks and Levin create a seductive, state-of-the-art production of ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs. This release follows Naujoks's work with his band Sky Walking (with RVDS and Lawrence) and his 2016 piano cassette on Martin Hossbach's eponymous imprint (CABACH 001CS).
Tomas Rubeck is based in the Midlands (UK) where post-industrial decay fringes with an idyllic rural backdrop, it may not be too much of a surprise as to where aspiring artist Rubeck takes his lead on inspiration for his music. With an ear for detailed production and a self-confessed perfectionist when it comes to sound design and artistic flare, it's clear as to why his records seem refreshingly different. The Blueprint EP, his first EP on Echocord contains three heavy, powerful and dubby tracks, all for the dancefloor.
The Detroit duo, DeepChord and Echospace also record under a variety of monikers (cv313, phase90, variant, etc.) and have continued to carve out an evocative, immersive sound born out of a love and passion for analog circuitry, sound design, field recordings and non-conventional methods of recording. But it's also work that's quintessentially building upon the Detroit electronic scene where it was born, and that divine marriage of roots and vision make the work at once so highly considered, so pertinent and so timeless. On this new project they collaborate with one of their closest friends and mentor, the late Michael Mantra. Michael's theories on 'Brain Hemisphere Harmonic Healing' were instrumental in the development of vibrational and sonic therapy. His experiments in the neural affects of sound paved the way for what has now become healing music. Echospace plays Michael Mantra's Sea Shell City is a 70-minute voyage into the furthest depths of the mind, featuring three tracks of ambient drone-based sonic worlds. On this album, sounds were sculpted with the use of hydrophones, piezoelectric transducers, wind harps, and binaural dummy-head microphones creating snapshots of normally unheard sonic worlds. Analogue oceans in slow motion, allowing one's mind to float into those mystical quiet zones, the brain hemisphere-sync effect Michael Mantra fostered for nearly three decades is ever present. "We're continuously reflecting on the teachings of Michael and in his honor, preserving the essence of sound and vibrational healing through music for immersive journeys into the vast beauty of atmosphere, the mind, nature and the inner self. Mike believed that listening with our whole heart and soul was the key to enjoying life to the fullest. He created auditory gradients for changing states of mind, and believed sound was the key to unlocking unseen universes. He dedicated himself to the spiritual liberation of all sentient beings through his sound-works. Desmond K. Hill once said that Mike's neuro-soundtracks could "radically transform the way human beings function psychologically". After 20-30 minutes of listening, I was incredibly relaxed with a lasting sensation of well-being. No concerns or thought crowded my mind, firmly in the present as opposed to being under the influence of memory or worries about the future, completely located in the now, with intense clarity, and deeper crispness of visual perception and thought." - Echospace
Low Jack's unpredictable Editions Gravats twist out gruff, grooving extracts, or Extraits, of textural and rhythmic sound art from Jean-François Plomb's JiFlure installation, making up the French artist/plastician's idiosyncratic debut release. These are tightly coiled yet wickedly chaotic creations, gleaned from a jerry-rigged set-up of three compressed cardboard suitcases containing four mechanical sanzas (mbiras aka "thumb pianos") built from circular saw blades and brochette spikes (metal skewers), all powered and excited by windscreen wiper motors and an array of homemade vibrators, mechanical drums, metronome and harmonica. The workshopped results are inarguably congruous with what you'll find out of Düsseldorf's Diskant label and bears a striking resemblance with the ferric tang of Konono No.1's thumb piano techno, yet they hail from a rather different artistic process altogether, which possibly shares more in common with Jeff Keen's self-built sound blatz or Pierre Bastien's mechanical instrument compositions. However, they all share a ruggedly rhythmic charge between them, one that relishes in the grit and infidelity of hypnotically repetitive, moiré-like pattern, and the friction of gear-grinding texture: something universally understood by DJs and dancers looking for ruder, unique styles to move mind and body. Also comparable to: Don't DJ, Black Zone Myth Chant and Mica Levi. Includes art insert. Edition of 350.
Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich's famous Langstrasse, exploring real-life stories. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country's most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines, Spoerri successfully infused vibrant bursts of sonic color into the monochrome imagery of the program, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era. In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger. Other players on this session include Latin multi-instrumentalist Antonio Conde, pianist Renato Anselmi and trumpeter Franco Ambrosetti. The final icing on the cake for this session would be the inclusion of Switzerland's leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet. Langstrasse Zwischen 12 und 12 sees Spoerri explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post-concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early '70s glimpse into Spoerri's narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.
Double LP version with download code. 180-gram vinyl. When Kompakt came across Amsterdam-based Harm Coolen and Merijn Scholte Albers aka Weval in 2014, the label was blown away by the duo's slow-burning, darkly emotive tracks. Following two widely acclaimed EPs for Kompakt and numerous festival appearances, the pair now present their self-titled full-length debut. This is no mere collection of tracks, but a complete listening experience with organic flow, emotional heft, and a narrative thread. While the duo's previous Kompakt releases -- their acclaimed 2014 Easier EP (KOMPAKT 318) and 2015's bold and beautiful It'll Be Just Fine/Grow Up (KOM 344EP), which saw the two soundsmiths digging deeper into the granularities of electronic funk than ever before -- were astonishingly fully-formed, the pair's music always seemed destined for more space to explore the nooks and crannies of this rapidly evolving sound cosmos. Simply put, they needed to think about an album, and their beloved living room studio wasn't cutting it anymore. An old school building, repurposed to house small creative businesses, became Weval's new home, but in the summer of 2015, it was abandoned most of the time, with everybody out in the sun while the duo turned the building's attic into a sweet spot to make some noise, have 24-hour access, and lose track of time. Weval draw their inspirations from no single genre of music, but an accumulation of music that inspires them. The results present an astonishingly coherent vision -- cuts like the dramatic "The Battle," bass growler "I Don't Need It," and the trippy epic "Madness" share the same DNA of zestful nostalgia, a knack for immersive sound-sculpting, and that certain kink in the groove. They also feed on deeply personal experiences and moods, as exemplified by the haunting electronic ballad "You're Mine," the carefully layered, polaroid-tinted "Just In Case," and the beautifully voiced closer "Years To Build." And sometimes, it's just an old, out-of-tune piano that stands in the hallway -- "Whenever I'd pass by it, I couldn't resist playing it," says Albers, "so Harm decided to start recording and it became an integral part of 'You Made It (Part I).'" No doubt about it: this is Weval's most powerful and organic material yet -- which means a lot, considering the amount of skill already on display in their small but weighty portfolio.
Double LP version. Fred P aka FP-Oner returns with 6, demonstrating the many cosmic qualities of his deeper shade of soul. 6 is the second part of a trilogy that features his detailed sonic landscapes, full of mystery and power. While 5 (MUSIQ 048CD, 2015) leaned more to the jazzier, relaxed, and atmospheric side of his artistically deep house expressions, 6 grinds even deeper into spherical worlds that enhance deep meditative highs. They are not made for club use only. In fact all of these compositions also work massively without big speakers. The New York City native, who has been working on his very own music since the mid-'90s, has produced an inward journey that is compelling, mesmerizing, and enchanting. You'll find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies, and rolling bass power that shakes your inner and outer self profoundly. An almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. The evolution of the each track is impeccable and their power grows with every listen. Describing this album, FP-Oner explains, "6 represents the number of man and his or her limitations, weakness and imperfections. This body of work examines and looks towards one awakening. Adapting to a new way of being creating an alternative and reaping a higher state of mind and being. Enhanced by love and serenity, satisfaction and joy." He also quotes Texan new age musician J D Emmanuel's statement, "My music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... We have Memories of Past Lives that reverberate in our hearts like Echoes From Ancient Caves." There is nothing more to add, except that those who do not know FP-Oner so far should know that he danced in his younger years in legendary NYC clubs like the Red Zone, Sound Factor, and Tunnel to DJ sets by larger-than-life selectors like David Morales, Frankie Knuckles, and Danny Tenaglia, where he learned that sometimes less is more. Most of his work as Fred P or Black Jazz Consortium has been released via his own label, Soul People Music; as Fred P he has also dropped 12"s on Jus-Ed's Underground Quality imprint and Toshiya Kawasaki's Mule Musiq, which now presents the second part of his trilogy under the FP-Oner alias.
"Lovely record. An intimate, unshowy, reaching blend of British folk and minimalism in the tradition of Robert Wyatt solo; quietly co-mingling Henry Flynt and Ivor Cutler, Eastern outernationalism and Radio art. Beautifully presented, too; in a die-cut, inside-out sleeve, with a poster. "
Wake Up You! Vol. 2
"The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. Presented in two volumes, each in a 100 page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves."
Originally released on the mighty Y Records in 1982, this single by Disconnection was a mutant disco cover version of a song from Rodgers and Hammerstein's 1949 musical, South Pacific which was made into a blockbuster film in 1958. Vocals by Angela Jaeger. This reissue is presented with the original configuration, with a radio mix, US Discomix and UK Discomix alongside the faux-exotica delight that is the Jaeger-penned "Aaaah."
Peace & Rhythm presents the double 12" LP by Los Terrificos. Taking inspiration from Latin, African, Caribbean, North and South American sources as diverse as the "narco corridos" of Mexico and Afrobeat, not to mention Cowboy Western film soundtracks, surf, psychedelic Amazonian cumbia, dub, electronica, funk, Andean folk, even disco, this record is wide ranging yet cohesive. Go South has a unique, dynamic hybrid "narco-delic" sound that leaps out of the speakers (having the vinyl on 45 RPM helps). Jake Fader, one of the two principal members of the band, says the record "is a soundtrack that has no film (yet). It is a diverse album that is not a traditional representation of any of the many genres it is influenced by. The only real rules were that the songs had to be a little freaky and mysterious." As the other primary member of Los Terrificos, Ray Lugo (Kokolo, The Boogaloo Destroyers), explains it, "We discussed how long the process of making an album can sometimes be and thought it would be fun to try to write, record and mix an album within 30 days. We chose the sounds of South America because we had been listening to a lot of super funky music from Peru, Colombia and Panama." The liner notes feature a bilingual story inspired by the music; housed in a gatefold sleeve.
"Cloud One was always a studio outlet for Patrick Adams to experiment. Even after the success of Atmosphere Strut, Adams continued to experiment with synthesizers (in particular the minimoog) to make this his signature sound or 'voice' as he called it. An indeed his usage of the synth was completely different from some of his contemporaries. With titles like 'Jump, Jump, Jump, Funky Track,' 'Stomp Your Feet and Dance' or 'Music Funk,' it was clear the spirit of this music was in Harlem. It's no surprise Adams felt at home in the many P&P subsidiaries. "P&P became this place where artists could be free, as opposed to an Atlantic Records or a Columbia Records, where everything is high spit and polished...We never told anybody on P&P what they could or couldn't do, what they should or shouldn't do. It was like, 'Go for it, if you want to bang pots and pans together, that's your sound." And what a Funky Sound it was. Official reissue of the rare sophomore LP by Cloud One."
21 year old Norwegian techno classic Plugged by Per Martinsen aka Mental Overdrive gets the expanded and remastered treatment on Full Pupp's "techno not techno" offshoot Rett I Fletta. He first entered the world of music-making by playing drums in local post-punk outfits, but moved on to electronic instruments when he bought his own Roland TR-808 drum machine in 1983. He ended up in London in 1987, where he spent his days squatting in Hackney and working as an assistant programmer in This Heat's seminal Cold Storage studio in Brixton. Hit by the wave of Chicago house and Detroit techno invading London at the time, he soon found himself experimenting with making beats inspired by these new sounds merged with the '80s sounds he was accustomed to from his pre-London era, like industrial music and EBM. Here he met Renaat Vandepapeliere of R&S Records, and soon found himself doing sessions with David Morley and Joey Beltram at the R&S headquarters, resulting in the release of his first EP under the Mental Overdrive moniker in 1990. A series of EP's for R&S followed, and after relocating to Norway after some time, the debut album Plugged was released on his own label Love OD Communications in 1995. In 2014, Daniel Blackbelt Andersen brought his shabby copy of Plugged along to one of the regular Full Pupp shindigs and played Prins Thomas a couple of the slightly more "ambient" tracks off the album stating it would be a dream come true to remix all of these tracks and that he'd spoken to Per about getting hold of the stems, if any. A plan to re-issue the whole album with a couple of new remixes formed. Per also went through his archives and found the original Akai S 3000 formatted floppy disks, all the pre-masters, alternative takes and unreleased tracks that did not make it to the finished album. The sleeve has been lovingly redesigned to match this "expanded" edition by Eirik Seu Stokkmo at Metric Design so a good couple of reasons to grab this new version if you're the lucky owner of the original record.
"Recorded across two nights in 1981 at New York's legendary Performing Garage and originally released in 1983 on cassette, Symphony No. 1 has been remastered for vinyl and reissued for the first time as a heavyweight 180 gram 2LP set in a deluxe gatefold jacket. The limited edition pressing features additional liner notes written by Lee Ranaldo (Sonic Youth) alongside the original notes by Jon Pareles (The New York Times) and now includes photos by Paula Court (New York Noise). The ensemble of performers on this recording are: Glenn Branca, Craig Bromberg, Dave Buk, Ann DeMarinis, Barbara Ess, Robert Harrison, Thurston Moore, Lee Ranaldo, David Rosenbloom, Richard Edson, Ned Sublette, Wharton Tiers, Gail Vachon, Fritz Van Orden, Stephen Wischerth and Margot Zvaleko."
2003 release. "Crow were born in the same Minnesota garage scene that gave us The Trashmen, The Gestures or The Castaways to evolve into a rock combo that released three great LPs between 1969 and 1971 and a 'Best Of' album in 1973. But it is with Wah Wah Records' Colors By Crow that Crow will finally take the place they deserve in the history of rock music. This compilation features the best from all their output, including the single-only track 'Something In Your Blood' and not forgetting their hit composition 'Evil Woman,' a big classic on its own that has the honor of having been covered by Black Sabbath themselves. The Wah Wah edition is pure synergy: it gathers the best songs from Crow's recordings and the result is even better than the three LPs together! Besides, it comes in an attractive, colorful paste-up sleeve and is limited to 500 copies."
Nothing Is Free (w/ Surgeon Remix)
Black-country overlord Justin K Broadrick (Jesu, Godflesh) blesses Regis' Downwards fiefdom with two tracks and a tightly sprung rework by Surgeon. Surgeon's remix of the title tune ranks among his best in many years. Trace elements of the original are extruded through swerving techno chassis recalling BMB and CUB classics, but streaked with sirens and vamped by a marching brass refrain that's just spoiling for war. The release marks a long overdue overlap between Downwards' and Broadrick's interrelated industrial, noise and techno circles.
Following her acclaimed 2014 debut, Ett (EMEGO 190LP), and the subsequent Msuic EP on Peder Mannerfelt's eponymous label (2014), Klara Lewis presents her second full-length, Too. Lewis's skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement in which the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer, more optimistic works. Neither looking behind nor forward, these works spiral in a time of their own devising, presenting themselves as a most audacious theater for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jittered rhythms, and even pop-like structures. Too is a deeply engaging display of sound and skewered sensibility that hovers on the cusp of reason and eludes the concrete. The results are Lewis's boldest statement to date. Written, produced, and mixed by Klara Lewis. Additional sound contributions on "Twist" and "Want" by Simon Fisher Turner. Mastered and cut by Rashad Becker at D&M, February 2016. Drawing by Klara Lewis. Layout by Andreas Karperyd.
"Proto-punk and garage Zamrock: the celebrated guitarist Paul Ngozi's essential debut album. Featuring Chrissy Zebby Tembo. Guitarist/vocalist Paul Ngozi's debut album ? under the name Ngozi Family - is an important record: not just in the Zamrock genre, but in the global rock canon. Day of Judgement is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo's My Ancestors) that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. Day of Judgement was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH's Lazy Bones!! to Rikki Ililonga's Zambia. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family's attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock's most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the '80s; an inspiration to not only aging but young Zambians -- and now others, beyond Zambia's borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world - from the Ramones to the Sex Pistols to Death. And, though it's been over two decades since Paul Ngozi's passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new."
Look up, look all around you, dump the fucking rubbish, and rise up. Listen to the sound of being alive. Whitehouse. Brand new masters by Noel Summerville of the twelve most intense anthems you will ever know.
of Grog Vim is the 15th album by Italian experimental cult band Larsen. A cinematic take on the epic life of the legendary visionary Grog Vim. After two albums deeply marked by the smoky voice of "dub diva" singer Little Annie, of Grog Vim is the first fully instrumental album to be released by the band since they started in 1993, and features special guest multi-instrumentalist Thor Harris (of Swans fame) on trombone on two pieces. All music written, performed and produced by Larsen: Fabrizio Modonese Palumbo, guitar, electric viola, diddley-bow; Marco "il Bue" Schiavo, drums, cymbals, glockenspiel; Paolo Dellapiana, electronics, keyboards, accordion, thumb piano; Roberto Maria Clemente, guitar.
The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronized by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos, De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere and presented here in full soundtrack form for the first time. Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor's most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell's well- polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco's filmography of approximately 203 completed movies. The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco's sexually stylistic watermarks adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve's The Witchfinder General (1968) and drawing comparisons with scenes from Eiichi Yamamoto's Belladonna Of Sadness (1973) this B-Movie reduction of Franco's wide palette of colorful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Underground, overambitious, right on, leftfield, below the radar but above criticism. indulgent and outrageous, but never middle of the road, Jess Franco was many things but he wasn't pretentious and never delivered art for art's sake. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.
Virginia steps up with her first full-length on Ostgut Ton, playfully answering all questions and rhetorics about love, lust and life with her singing on eleven new songs. Fierce For The Night is co-produced by renowned artists Dexter, Martyn and Steffi. The album offers a very personal insight to her inner self while drawing from club culture's long and rich history. Virginia says, "My challenge was writing an album that works as well on the floor as it does in a home-listening context, that consists of songs rather than tracks," she continues "Electronic music doesn't necessarily need a political message. On Fierce For The Night I've focused on club culture's basic principles: found and lost love, frenzy and extreme emotions." Having worked on songs for many years before and having collaborated with others was another motivation to elaborate her songwriting and put it into a new context. Virginia uses her voice as another instrument in the writing process. "At times one word I pick is the starting point to develop the rest of the song and to add meaning. That's a different approach to songwriting, but it's a very much flow-driven way of writing." An approach that also refers to and reflects Virginia's craft as a DJ, where records come in one at a time and not only need to connect to the one before and the one after, but also to the floor. Fierce For The Night is, music-wise, an album deeply rooted in club culture while staying approachable for listeners that might not be regulars on the dancefloor. A pop album that playfully defies the schematic formulas of pop music. There is dancing and muscles being flexed in "Bally Linny", "Lies", "Funkert" and "Raverd" (both serving as the album's lead-single on 12" vinyl), "Follow Me" and the eponymous "Fierce For The Night" ? Cheerful and energetic songs that can be played out over the course of a club set, but just as well click with home stereo or radio listeners. And while all songs have personal stories behind Virginia's songwriting, there is also a classic Pop music narrative: making music approachable and offering meaning that people can connect to their own lives. Fierce For The Night is therefore first and foremost an album about relationships: A very personal reflection of Virginia's own experiences so far, but also about the once intimate, now loose connections between everyday people.
One Summer: Original Score to the 1983 TV Series 7"
Now Wait For Last Year LP
For Sepp (Selections from the Edgar Allan Poe Suite) LP
Mulatu of Ethiopia (180 Gram Vinyl) LP
Humdrum Blues/Sixteen Tons 7"
I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse 2LP
Lixiviation - Ciani/Musica Inc. 1969-1985 CD
The Burrell Brothers Present: The Nu Groove Years Sampler 12"
Nothing Is Free (w/ Surgeon Remix) 12"
Don't Leave Me Here to Cry/Just for You and I 7"
The Three Things You Can Hear LP
Live At The Apollo 1972 2LP
Realization For The Ear + Remixes - Interpretations 2CD
It Ain't Love/Tears Baby 7"
Mr Oracle of Love/Red Lips 7"
There's a Man/Have This World And You 7"
Q Street/Wolfpack (45 Edit) 7"
Situaciones/Ciudad de Nadie 7"
Classics Remastered (1993-1998) 2CD
Space Echo: The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed CD
English Songs Volume 2 7"
Wake Up You! Vol. 2 CD/BOOK
Heavy Psych Sounds Sampler CD
Compilation 04 Sampler 1 12"
Compilation 04 Sampler 2 12"
Symphony No. 1 (Tonal Plexus) 2LP
Langstrasse Zwischen 12 Und 12 LP
Funky Disco Tracks of Cloud One LP
The Sound Of Being Alive CD
Scattered, Smothered & Covered LP