The dark interpreter Stephen O'Malley ov Sunn O))) presents his towering orchestral composition Gruidés, commissioned by French 35-piece improv orchestra ONCEIM -- l'Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales -- and released thru Demdike Stare's DDS label. In early 2014 O'Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to "just be punk rock about it," the preternaturally gifted composer has conceived a technically demanding -- for the players, at least -- and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))'s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM's Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in Jean-Luc Verna's cover art. It's an incredibly immersive piece that comes highly recommended if you're into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).
Another shamanic journey in Tazartès's universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartès's son, Lalo, can be heard on "Don't Cry for Me, Mamma." The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor.
This LP is a documentation of the very first meeting of Stuttgart-based minimalist jazz duo Fifty-Fifty and Swabian sound exploration society Metabolismus. All players draw from decades of experience with different forms of improvisation, using instrumental and electronic sounds known and unknown to spontaneously create an aural environment of complex simplicity. A wide spectrum of group mind expressions can be heard, from the purely abstract to moments of calm reflection. The title is a meditation on the idea of the impossible, beautifully represented by these words from Alexander Pope:
"Mad Mathesis alone was unconfined,
Too mad for mere material chains to bind,
Now to pure space lifts her ecstatic stare,
Now, running round the circle, finds it square."
The session was recorded during one afternoon in the summer of 2012 at Sumsilobatem Sound Studio on magnetic tape; any technical imperfections due to the spontaneous nature of the situation were kept in as part of the document. No digital technology was used in the making of this album. Cover art is hand-silkscreened; originally designed by Estuardo Maldonando. "Metabolic music saves you from a life of grey." --KF
"Matt Valentine and Erika Elder have been cutting new synaptic pathways through brainic underbrush since before most people became capable of breathing air. That said, their albums (many of which are CDR-only issues on their own Child of Microtones imprint) often have a specific delirious blueprint, designed to shift only a certain batch of molecules and/or air into forms that translate into music. Such is not the case with Alpine Frequency. This lazily explorative 2LP set was sewn into a whole from various tattered swathes of sound, pieced together like the jeans Neil Young wore on the cover of After the Gold Rush (1970). A Spectrasound production, AF includes appearances by a vast array of MVEE enablers of all known periods -- PG Six, Mick Flower, Rafi Bookstaber, Jeremy Earl, Doc Dunn, Spanish Wolfman, and many others emerge from time to time, making sure the water is just right. And it is. Like a very good Dead set, the music here moves from overt abstraction to melodic focus and back like the tracking shots Monte Hellman used in the 1974 film version of Charles Willeford's Cockfighter (1962). But unlike the Allman Bros. (who were extras in the crowd scenes at Hellman's staged cock fights), MV&EE don't do anything to placate the squares. Their trip is as deep, dark, and flowing as a bushel of burning VT weed. Their music sucks you into its vortex (if it allows you in, of course) and then just carries your ass right through to the finish line. All you have to do is get up now and then to change the records. This here outfit (in all its many guises) has put out a lot of great music, but Alpine Frequency feels like a real achievement -- a shorthand essay about all that has gone before it. A beautiful capsulization, ready to float onto your ear's tongue, to melt once and for all. Dig it" --Byron Coley, 2015. Edition of 500.
Limited gatefold double LP version. Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno (HOS 412CD). For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini's words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space... it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.
Since the early 1990s, Michael Veet aka Witcyst has been the stunning secret diamond of the New Zealand noise underground. A short-circuiting monolith on top of the rubbish heap of NZ art and sound. This LP contains two pieces originally issued on cassettes in 1995. "Screuma" sounds like a guitar being fed through a washing machine -- a giant guitar made from old medicine bottles and beard hair. The washing machine is on full spin and it has pinecones in it. Witcyst mumbles a running commentary. It goes on and on. All outputs are fed back into the inputs. "Chilli Song" is a Witcyst rock song stretched into a spitting blur of strumming and singing. Streaks of hiss and saturation swamp and dissolve the riff. Someone is frying old meat and Witcyst has a lot to say about it. It goes on and on. All outputs are fed back into the inputs. Witcyst's instructions for completing the sleeve artwork: "If the vinyl comes with unprinted blank card covers rub them a bit on rough concrete, cut out the center holes like a 12" sleeve, but not perfect circle -- like rough chop chop. Hack or lay a cover on wood, slab with a big metal pipe end, slam down off center like cutting with a cookie cutter, and tear the centers out. That would be goodly!" Witcyst lives and works in a concrete-floor shed in Whangarei, in the far north of New Zealand. His releases on his own labels Extemporization and LifeSpace run into the thousands. Each item is hand-made from insect casings, old X-rays, beer cans, and elbow grease. Exquisite drawings, obsessive collage, unreadable calligraphy, and photocopying onto tinfoil. His music is always a surprise and wrestles every potential sound out of endless mutations of endless new ideas. Every variation is layered, wrung out, and exploded. It is the freest of all the free noises. A complete drooling feast for the eyes and ears. Witcyst makes everyone else seem like a baby with a coloring book and one crayon. Edition of 300 copies in DIY sleeve.
A homemade 86-minute epic space adventure, conceived, written, played, sung, and illustrated by an amateur musician in his bedroom in Hull, England, from 1979 to 1985, and reissued here for the first time. When Alan Jefferson heard The War of the Worlds, he thought he could make something similar, maybe better. This was in 1979. So, he set about it, with limited equipment -- a Moog, a reel-to-reel, a guitar, and some pedals. Six years later, in 1985, Galactic Nightmare was finished, and made available to readers of the magazines Future Music and CU Amiga. Via Jefferson's advertisement, one could buy a 90-minute chrome cassette of the album, complete with poster and storyfile for £7.99 plus £1 postage. Very few people bought it, but one of the writers for Future Music, Dave Robinson, liked the preview copy that he received. He started playing it for a few people. One of those was a guy called Dave Green, who eventually played it for Stewart Lee in the 1990s. All of them found Galactic Nightmare an addictive, unforgettable musical experience. In 2014, Stewart Lee sent a small snippet of Galactic Nightmare to Jonny Trunk, who, a few months later, wrote to the address in the 1986 advertisement. Two days later Alan Jefferson got in touch, and this double LP reissue of Galactic Nightmare is the result. Jefferson wrote the story, narrated the story, wrote and played the music, sang the songs, and made the artwork, poster, storyfile, et cetera, sometimes fighting against faulty instruments and a dodgy tape machine. Galactic Nightmare is a totally unique recording, joyous in its attempt to create something absolutely epic with very few resources and charming in its attention to detail and almost folk-like naiveté. A great example of an amateur being inspired to make something, getting on with it, sticking with it, and ultimately creating an album that few people will forget once they have heard it. Presented in gatefold matte varnished sleeve bearing the original Galactic Nightmare poster; includes original Galactic Nightmare graphics, plans, musical notation, early sketches, advertisements, et cetera inside the gatefold; notes by Alan Jefferson, Jonny Trunk, Stewart Lee, and Dave Green; and complete storyfile with original illustrations across all four sides of the printed inner sleeves.
Unrock's Saraswati series continues with a trip into the spiritual wonderland of Alvarius B. aka Alan Bishop (Sun City Girls, Invisible Hands). Deep down, heavy, Sun-City-Girls-flavored Dada deluxe. Crackling midgets, purist psychedelia. A cocoon of seven colorful, shiny monoliths of essential nonsense, each dirty pearl standing by itself. Limited edition one-time pressing.
Ossia (Young Echo member, operates Rewind Forward, Peng! Sound, No Corner, Hotline Recordings) debuts with "Red X," inspired by Peter Tosh's diary recordings in which he documented his dissatisfaction and mistrust in the run-up to his shocking murder in '87. The track brilliantly bridges dubwise, isolationist electronics and modern soundsystem dynamics. "Blood & Ice (Version)" was coaxed out of a dubplate of "Ice & Blood" and the crackly runout groove of Tosh's Bombo Klaat 7" shot through '70s Copicat tape-delay and an array of effects. Vinyl-only edition of 500 housed in beautiful screenprinted sleeve designed by Studio Tape-Echo.
Visionist resets his Lost Codes imprint as a PAN sublabel, Codes, with a killer collaborative grime/techno collage by Acre and Filter Dread, marking the first time either producer has collaborated properly. "Drumz 34" burrows in with viral eight-bit squiggle and squashed subs before "Flash Speed" arches up a skeletal, mutant eight-bar onslaught and "Trashed" bruks out the toms on a swooping halfstep techno flex. Darkside droog raver "Life" whips reversed drums, bass, and Mentasms with very canny Wendy Carlos vibes, while "Unknown" deals in guttural, monotone functions and "Blood Artist" pulls coarse lo-fi drums and electronics into sharp focus.
Double LP version. Enduring ambient and soundtrack specialist John Beltran presents 17 beautiful tracks that range from dreamy and heavenly to more meaningful and moving. Emotional from start to finish, Espais once again finds Beltran using modern tools and techniques with classical musical values. Part synthetic and machine-made, part organic and natural, it is another fine opus from the Michigan man.
With the haunting collages of Ghost Tapes, El Mahdy Jr goes deeper into his own personal sonic space. "Ghost Tapes is a composition of everyday fragments based on found tapes, field recordings, beats, and radio frequencies. A ruff attempt of interpreting the cultural ghost that surrounds the field and makes the difference between place and space" --El Mahdy Jr, 2015. Mastered and cut by Rashad Becker at Dubplates & Mastering. Pressed at Optimal.
Practice What U Preach
LP version. After his highly acclaimed debut album The Crack Capone (Planet Mu, 2010), widely considered an all-time footwork classic, DJ Roc returns with a follow-up mini-album titled Practice What U Preach. Roc is one of the main DJs at the weekly Battlegroundz meet-ups in Chicago's South Side, where the different crews and dancers flesh out who is the coldest in the game. This special release gives a very good impression of what is happening musically in the eye of the storm. It's a collection of eight pure battle tracks, made without compromise, yet its variety of modes and moods is breathtaking. This is an excellent release for anyone looking to dig deeper into footwork's vast landscape of infinite possibilities and enjoy the raw energy of one of today's most exciting electronic dance music styles.
"First off, the cover. Let's make it clear -- this was totally Daniel's idea and is based on the original art for Tony Rice's California Album (Rebel SLP-1549, 1975). Why? We cannot say exactly. The album is considered to be in Rice's all-time top five. But so what? Who amongst us can claim to have fully plumbed the depths of Bachman's mind? The guy is a genius and those types just have 'their ways.' So shut up about the cover already. This album itself was released under the title Daniel Bachman by an English label -- Lancashire and Somerset -- in 2014. But copies evaporated like mom's milk, so here's a sonic jug from which we can all suckle with warm ease. Miscellaneous Ephemera is an amazing record -- filled to the brim with music that extends the concept of acoustic guitar manipulation beyond the range of mere vaseline machine guns. The pieces range from disruptive scrambles and neo-Tuvan throat aktion worthy of late-period Fahey to Kabra-style ragas and the more easily-anticipated particles of primitive guitar brilliance. There is also some adult content on the second side, so radio programmers -- be alert! Bachman has been a growing force in the acoustic underground for a few years now, and this new one really rips a new hole in the side of the style's star-cluster. Join forces with it today. Or else" --Byron Coley, 2015. Edition of 500.
By the summer of 1971 Mighty Baby had shed their psychedelic trappings and taken a more spiritual, reflective approach. Newly signed to Mike Vernon's Blue Horizon label, they prepared the material for their second and final album, A Jug of Love (SBR 5026LP), in a basement on Harley Road, North London, ahead of sessions in Sound Techniques that July and August. This is the only known recording of them in rehearsal. Taped on Ian Whiteman's Revox with a single microphone, it's entirely instrumental ("We weren't great singers, anyway," he wryly states), and offers a remarkable insight into the workings of one of Britain's best-loved underground labels. Heavyweight embossed gatefold sleeve containing LP pressed on 180-gram vinyl, 7" in picture sleeve featuring "Messages" and "Ancient Traveller," facsimile postcard insert, and facsimile 1969 shop poster. Edition of 400.
Another chapter in the ongoing series of live recordings of the Turkish quartet Konstrukt, this time teaming up with saxophonist Akira Sakata, a key figure of the Japanese free jazz movement since the 1970s. Recorded at kargART in Istanbul on January 17th, 2015, this 70-minute long jam is one of the band's most psychedelic to date, with Sakata's growling shōmyō-like chant finding the perfect setting -- like a snake charmer -- in a jungle of constantly reinvented sound. Edition of 200.
2015 is a busy year for Michael Head. His second single as Michael Head & The Red Elastic Band was released in March 2015 on his Violette Records. "I Know You Well," a 1990 single by Head's band Shack, leads off Jon Savage's 2015 Perfect Motion double LP compilation, described as "a musical return-trip to these fondly remembered years spanning 1988-93." And now, his classic 1997 album The Magical World of The Strands is available as a deluxe reissue. This reissue of this all-time classic also appears alongside The Olde World (MEGAUK 023CD/LP), a collection previously unreleased tracks and remixes from the album sessions. Finally, both the reissue and The Olde World arrive in advance of Head's first gigs as Michael Head & The Strands, where they will play The Magical World of the Strands in full. In 1993, Head teamed up with his brother John, his longtime drummer Iain Templeton, and two new recruits, Michelle Brown on bass and Les Roberts on flute, and began two years of recording sessions. The sessions came to a halt when Head was offered a major label deal, not for his current work, but for him to record as Shack again. Weaving rough mixes and sketches -- by engineer Steve Powell, made in Liverpool -- with completed mixes by producer Mark Coyle, Stephane Bismuth, the French promoter who initiated the Strands sessions, finally released The Magical World of The Strands on Megaphone in 1997. This work-in-progress garnered great critical acclaim and is rated by many as the "rarest jewel of the 90s" (Q). The CD version of this reissue includes two bonus tracks, the B-sides to the 1998 NME and Melody Maker Single of the Week "Somethin' Like You." "Green Velvet Jacket" is an acoustic solo piece by Head, and "Queen Matilda (Demo)" was recorded in early 1993 and produced by the band's friend and live engineer Ian Eastwood on a four-track Tascam cassette recorder. The CD and LP both include a 20-page booklet containing new liner notes by Head himself and photographs testifying to album sleeve's work-in-progress.
An Opal Tapes debut from Michael Vallera of the group Cleared, Distance makes a clear case for just how easily industrial and dark ambience swing between beauty and fear, with more than a wink of the gothic that brings to mind a host of classic cvlt missives by Lycia, Vidna Obmana, or Maeror Tri. As with the best of those, these works mark the transition between dream and nightmare. Something chilling, perhaps borne of the subconscious's twisted ability to fuck you up, but remaining just out of reach. Subtle perfumes linger in the air and a kind of romantic melancholy spreads, but the overwhelming sensation is of a patient and growing dread.
My heart's in my hand, and my hand is pierced, and my hand's in the bag, and the bag is shut, and my heart is caught, and the bag is shut...
...and my heart is caught
This double LP, released by NERO magazine and Shady Lane Productions, gathers selected materials, both texts and audio recordings, from Phil Collins's project of the same name, for which Collins collaborated with guests of Gulliver, a self-described "survival station for the homeless" in Cologne, Germany. There, Collins installed a phone booth for free and unlimited local and international calls, on the condition that the conversations would be recorded and anonymized. Collins sent selected material to an international group of musicians, to serve as the starting point for original songs that he then presented as 7"s in specially-designed listening booths overlooking Cologne's central train station. Collins produced the work for his 2013 solo exhibition In every dream home a heartache (curated by Anna Brohm), at Museum Ludwig in Cologne, where he first presented it. The work is a headfirst dive into a city, tuning in to its many unheard stories. Having worked for a homeless magazine in the 1990s, Collins has a long-standing interest in issues relating to these communities. Bringing to the fore the lyrical and narrative potential of the human voice when it stands in for those subjects of city life who are purposefully ignored and routinely overlooked, he dramatizes the moment of communication as an emotional and ambivalent exchange. On January 5, 2001, Gulliver opened in a railway arch under the Hohenzollern Bridge, in the immediate vicinity of Cologne's main train station, the banks of the Rhine, and the old town. Gulliver is the first institution of its kind in Germany, offering a wide range of services with unusually long hours of operation. Collins's project includes contributions by legendary figures Scritti Politti, David Sylvian, Lætitia Sadier, and Damon & Naomi; trailblazing experimental and indie acts Demdike Stare, Planningtorock, Maria Minerva, Heroin in Tahiti, Pye Corner Audio, and Peaking Lights; and local heroes Elektronische Musk aus: Köln, Pluramon, and Cologne Tape; as well as a special guest turn from the original German superstar, Julia Hummer. The double LP is pressed on 140-gram colored vinyl and includes all of the original tracks and music by those who partook in the project. It's presented with a 29 x 29 cm, 24-page, 400-gram booklet containing critical texts by Mark Fisher and Florian Schneider, an extract from the original telephone conversations, images of the 7"s, and photographs of the Gulliver center. The LPs and booklet are housed in a glossy four-color gatefold sleeve.
Primitive Paradise: Early Exotica 1920-1947
The genre known as "exotica" reached worldwide success during the 1950s thanks to artists such as Yma Sumac, Martin Denny, and Arthur Lyman, but its origin can be found almost 50 years earlier. The seed was planted by Hawaiian musicians who performed, representing their country, at the first Universal Exhibitions that took place in the United States in 1901. Their paradisiacal melodies, percussion, and tribal rhythms; the strange timbre of instruments such as the ukulele and the steel guitar; and the scantily clad female dancers sparked the interest of American society. The eccentric vaudeville shows, especially their risqué numbers, incorporated sounds from Asia, the Middle East, and Africa to create the right atmosphere for an exotic stage on which sensual dancers tried to satisfy the audience's escapist needs. It was then that the traditional folklore of the islands began to merge with Western rhythms such as foxtrot and swing. The first recordings by Hawaiian artists were marketed widely in the 1910s on the 78 rpm format, and as a result the steel guitar, the genre's characteristic instrument, became so popular that it was integrated into other genres such as country, country blues, Western swing, and novelty music. At the same time, Cuban and Puerto Rican music arrived in the United States thanks to pioneers such as Trío Matamoros, Don Azpiazú, and Los Jardineros, who paved the way for such enormously popular stars as Desi Arnaz and Xavier Cugat. On the other side of the pond, in the early '30s, rumba, conga, and beguine were creating a frenzy in Europe thanks to orchestras from Cuba, Guadeloupe, and Martinique performing at Parisian clubs. Later on, after World War II, more commercial rhythms such as cha-cha-cha and mambo would be easily assimilated by an audience already used to Latin sounds that would eventually conquer all of Europe and the rest of the world. The music featured on this compilation is a sample of that musical expansion, exemplified by 14 tracks of early exotica originally released on 78 rpm records between 1920 and 1947 in countries such as France, Spain, England, Holland, Japan, and the USA. Most have never been reissued on any format until now. Includes tracks by Orquesta Serramont, Lecuona Cuban Boys, Mercedes Mariño, Pedro Berrios, All Star Trio, The Honolulu Queens, South Sea Islanders, Anglo-Persians, Jay Whidden, Elsie Bayron, The Kidoodlers, Wailana Grass Shack Boys, The Tune Wranglers, and Gino Bordin.
Nottingham duo Sleaford Mods present third "proper" album, Key Markets. "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large Coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album Key Markets. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. Key Markets is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." Housed in a gatefold sleeve designed by Steve Lippert; mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. Sleaford Mods are Jason Williamson: words; Andrew Fearn: music.
Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander. Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.
'60s garage-psych moody monster! Out of The Bachs was originally released in 1968 as a private pressing of 150 copies; it's one of the rarest USA '60s garage/teenbeat albums ever. The band consisted of five young kids from Chicago, regulars at local teen dances, who decided to release an album for their fans before splitting up. Recorded and mixed in just ten hours at a makeshift studio, Out of The Bachs offers 12 amazing self-penned songs with a sound ahead of its time. Pure teenage-angst vocals, crashing Rickenbackers, fuzz outbursts, killer moody tracks... Sadly, all previous reissues of the album failed to capture the true sound of the original, until the Time-Lag label reissued it in 2011 with remastered sound from a pristine original vinyl copy. This reissue uses the same audio master as the out-of-print Time-Lag edition. File next to The Rising Storm, The Fantastic Dee-Jays, The Savages. Includes insert with detailed liner notes and rare photos.
"The Wire Tapper 38, our latest anthology of underground music will be on the cover of every copy, ensuring the issue will be scooped up by the maximum of discerning music fans. On the cover: Ashtray Navigations (Phil Todd's slime-surfing DIY outfit have been reverberating for 21 years, a constant presence in Yorkshire's ever-bubbling psych underground); Bristol UFOs (As guitarist David Pearce returns after 15 years in the wilderness with a new Flying Saucer Attack album, he and members of Movietone, Crescent and Third Eye Foundation tell the story of the West Country's cosmic reverse); The Primer: Yorkshire Psychedelia (Frances Morgan takes a trip through the essential catalogue of Ashtray Navigations and fellow seekers Vibracathedral Orchestra, Astral Social Club and more); Ornette Coleman (AB Spellman recalls his encounters with the late saxophonist in New York in the 1960s); Global Ear: Lodz (Confrontational music replaces heavy industry in the Polish city); Invisible Jukebox: Mark Perry (The ATV Frontman and Sniffin' Glue founder says "You bastard" to The Wire's mystery record selection)."
Pekka Airaksinen is a Finnish composer of electronic music. Airaksinen formed his first band, The Sperm, in late 1967. The Sperm mixed elements of avant-garde music with free jazz and psychedelic pop. Throughout its existence, the group's members included Antero Helander, Ilkka Lehtinen, J.O. Mallander, Markus Heikkerö, Mattijuhani Koponen, Nikke Nikamo, and Peter Widén. By 1970 Airaksinen had started his own label, O Records, to produce and distribute his solo LPs, including One Point Music (1972); The Sperm's Shh! Heinäsirkat (1970); and a 1972 LP by his free-jazz-dominated project Samsa Trio (together with Helander and Koponen) -- all included here. Live performances by Airaksinen and The Sperm often took the form of confrontational performance art; two of The Sperm's members were arrested for simulating sexual intercourse and screening pornographic films. Following The Sperm's breakup in the mid-1970s, Airaksinen turned to Buddhism, but kept producing music in the years to come, integrating Roland 808 drum machines into his music and releasing classic LPs like 1984's Buddhas of Golden Light (ALE 004LP). Works 1968-1976 contains The Sperm's 3rd Erection EP (1968) with three bonus tracks, Shh! Heinäsirkat (1970), and Suite 71 (originally included on the 1998 CD reissue of Shh! Heinäsirkat on Dharmakustannus); Samsa Trio's 1972 self-titled album; Airaksinen's One Point Music (1972) and his Pagoda EP (1973) with Omar Williams and Donald Bane; and Golden Age (1976) by Mytologinen Duo (Airaksinen and Helander).
Strange Celestial Road LP
An Evening With The Devil LP
Evidence of Time Travel LP