For this 1968 cult Italian thriller based on a script by Dario Argento, the maestro Ennio Morricone composed a dark and oppressive score, with experimental and avant-garde elements, that describes perfectly the brutality of the plot. First vinyl reissue. Lead-gray vinyl with red blood speckles. Limited edition of 500.
Pressed on 180-gram vinyl; presented in gatefold sleeve. Cien Fuegos presents a reissue of an untitled LP by Peter Brötzmann, Fred van Hove, and Han Bennink, originally released on FMP in 1973. Peter Brötzmann: clarinet; alto, tenor, baritone, bass saxophones. Fred van Hove: celesta, piano. Han Bennink: drums, khene, rhythm-box, selfmade clarinet, gachi, oe-oe, voice, tins, homemade junk, elong, dhung, kaffir piano, dhung-dkar. Recorded by Dietram Köster on February 25, 1973, Bremen. Photographs by Dagmar Gebers and Krista Brötzmann; design by Peter Brötzmann.
Everything But the Girl band member Ben Watt was strongly influenced in his first steps by mentor Robert Wyatt. This LP starts with Summer Into Winter, the legendary 1982 EP written and performed together by the duo of Watt and Wyatt, and continues with the English folk milestone North Marine Drive, originally released in 1983. Including a rare gem cover of Dylan's "You're Gonna Make Me Lonesome When You Go," this album is a must for all fans of Nick Drake. Pressed on virgin white vinyl; limited numbered edition of 500.
Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of material recorded in 2014. In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones -- Cohen's cosmic "beeps and boops" -- that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following a retrospective LP trilogy released via Morphine in 2013 (The Middle Distance (DOSER 019LP), Group Motion (DOSER 020LP), Music for Dance and Theater (DOSER 021LP)). Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen -- at the time largely unknown outside Philadelphia's experimental circuit -- to critical renown. Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by Tank Boys; cover art by Nathalie du Pasquier.
Previously unreleased soundtrack to Eddy Saller's 1968 sex-and-crime film Schamlos starring Udo Kier, Rolf Eden, and Marina Paal. Featuring the music of Austrian composer legend Gerhard Heinz and previously unreleased versions of songs by psych/beat groups The Sirs and Charles Ryders Corporation. A trashy gangster thriller with provocative sex scenes, the movie is now considered a classic of the exploitation period. Musically jumping from wild jazz to pounding up-tempo beat with a hint at the new psychedelic scene of the time. An essential soundtrack put together from Gerhard Heinz's original master tapes. Complete with 16-page LP-sized booklet containing liner notes in German and English.
The Heliocentric Worlds Of Sun Ra Vol. 1
2015 repress -- 50 Anniversary edition on Esperanto green colored vinyl; #'d edition of 1000 copies. The astonishing sessions that went light years beyond "free jazz" improvisation to create a music of deeply felt, explosive and gentle gesture made from sound itself without reference to previous notions of melody or harmony are now reissued on 180 gram vinyl with Sun Ra's original, self-created cover art. Recorded by Richard Alderson on April 20, 1965, this set of tunes finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. Remastered on 180 gram vinyl.
Following his acclaimed 2014 album Film of Life, Tony Allen connects with modern club music through Film of Life Remixes. House guru Ricardo Villalobos and partner Max Loderbauer present a rework of "African Man," slowly dragging it through a groovy minimalist mutation and spreading their implacable groove over the rhythm of percussion and brass while shimmering bells interweave with a strong beat. Rising Londoner Fort Romeau reveals a new facet of "Go Back," mixing deep, graceful, elegant modern discoid rhythms with Damon Albarn's silky vocals. The piece unfolds and develops gradually, enveloping us in gentle, rhythmic house.
"Matsuli Music presents an album of kora interpretations that astonished John Williams into saying he thought it was 'absolutely impossible until I heard Derek Gripper do it.' When Kora maestro Toumani Diabate heard these recordings he disbelievingly asked his host and producer Lucy Duran to confirm that she had actually seen one guitarist play this music on just one guitar. Recorded at an all-night session Gripper's guitar magically conjures anew this centuries-old African musical heritage. One Night on Earth: Music from the Strings of Mali captures Gripper's extraordinary six-string interpretation of Toumani Diabate's 21-string Kora compositions. Gripper's 'guitar has found the Kora-playing spirit, he captures the magic bound up in the way it is played,' says Williams, who has invited Gripper back a second time to collaborate in 'The John Williams Series' at the Globe Theatre, London, in June 2015. For more than ten years Derek Gripper has produced some of South Africa's most extraordinary musical works, fusing the country's disparate creative traditions with styles from around the world. His music draws on European classical traditions, avant-garde Brazilian works, Malian kora works, Cape Town's folk styles such as goema and vastrap, and Indian classical music, all the while synthesising them into a style uniquely his own. Tim Panting writing in the Classical Guitar Magazine describes this as '...one of the most atmospheric recordings of guitar music, of any kind, that I have heard.' And in music journalist Richard Haslop's words 'Anybody wondering why one would want to hear a South African guitarist play this music when the incomparable original recordings are available, need only listen to this album.' Originally only available on CD, Matsuli Music is proud to be releasing this breakthrough album on heavyweight vinyl in a deluxe limited edition with accompanying sleeve-notes from Derek Gripper."
Berghain 07 - Part I
Ostgut Ton's Berghain series returns with this 12" and Part II (OSTGUT 087EP), taken from the Berghain 07 mix by Function, who describes this 12": "'Odyssey #1' [by Steve Bicknell] is a four minute slab of proper dancefloor hypnotica... ['So Much' by L.B. Dub Corp is] a modern, elegant take on Deep House and Acid House... Post Scriptum is an upcoming project by an immense new talent... 'Human Timescales' is the precursor to that album [Post Scriptum 01 (INF 001CD/020LP)] and the debut of the Post Scriptum project... the floating synths give ['Parallels' by UK producer Blue Hour] a timeless feel."
"It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven --an imperial suite" (Poe, 1842). Alice Dourlen, who performs as Chicaloyoh, follows her 2013 debut LP, Folie Sacré (SHELTER 030LP), with Les Septs Salons, a condensed document of an 18-month non-stop globetrotting tour. Melding experimental and Eastern sounds with a strong theatrical aesthetic, Les Sept Salons is also the recording of a smooth transition between two languages, as Dourlen returns to French, her native tongue, on half of the record. Contemporary bridges are built here between psychedelic sounds and horror movie soundtracks, between some modern incarnations of Nico and Catherine Ribeiro. Built in two very distinctive parts, Les Sept Salons was recorded in summer 2014 in Dourlen's very own by-the-sea recording studio Chaudelande (Normandy). The first track, "The Sound of his Tenderness," recalls some of the deepest moments of women-in-horror, such as The Cremator (1969) or The Third Part of the Night (1971). Chicaloyoh's driven herself to a new galaxy of vocal explorations for a ten-minute opening track, and "The Sound of his Tenderness" is for sure the most epic and complex piece of music she's ever composed. "Jeune Fille" and "Prosternation Intérieure" -- the second and final movements, respectively -- form a twofold song. Their long-awaited lyrics in French, in the realm of French poet Joë Bousquet or painter Balthus, arrive alongside a new way of recording. Using the text as a crucial starting point in the composition process, Chicaloyoh finds a new world to dig in, of which this diptych sounds like a very promising first hint. The votive offering on the cover, a beautiful answer to Chicaloyoh's music, was made by the Paris-based photographer Camille Vivier, featuring one of her unique female forms in wax. Clocking in at just under 20 minutes, Les Septs Salons is the beautiful echo chamber from a timeless and very unique musician. One-sided LP pressed on 160-gram white vinyl and presented in PVC sleeve with PVC printed insert. Mastered by James Plotkin. Edition of 500 copies.
Gatefold double LP version; pressed on marbled vinyl; includes download code. Ütopiya? not only continues Oiseaux-Tempête's first album (SR 381CD/LP); it also extends it. The travels move this time to Istanbul and Sicily, providing the food for its urgent energy and indomitable drive. While the structures still hint at moments of post-rock, they go further now, almost into the area of free-jazz yet without losing a directness rooted in punk (highlighted perhaps by the presence of G.W. Sok from The Ex). In addition, the bass clarinet of Gareth Davis references both the roughest of experiments of Akosh Szelevényi and The Stooges' Fun House. There are, so the story goes, sea birds that reveal themselves only at times of approaching storms. This story though, is a little more complicated. For some, the pipers riding the deluge, yet for the mariner the prophets in the lingering final moments of calm. Ultimately, are they the creator or created if the existence of one requires the other? It is this Mediterranean Sea that Oiseaux-Tempête chose to roam. More or less anchored in Paris, Oiseaux-Tempête is the result of the meeting between Frédéric D. Oberland and Stéphane Pigneul (members of both Farewell Poetry and Le Réveil Des Tropiques) and Ben McConnell (Beach House, Marissa Nadler). For Ütopiya?, the group is expanded with the addition of bass clarinet virtuoso Gareth Davis.
Stelvio Cipriani's seminal soundtrack for the legendary 1972 film La polizia ringrazia (internationally released as Execution Squad and The Enforcers), directed by the great Steno, who started the "poliziottesco" genre, and starring Enrico Maria Salerno and Mariangela Melato. Italian hard-boiled vibes on Dagored! First complete vinyl reissue. Light beige vinyl. Limited edition of 500.
Kahraba is the debut studio album of Islam Chipsy's EEK. Recorded in late 2014 in downtown Cairo, it contains four tracks perfectly representing Chipsy's wild and inimitable artistic spectrum, ranging from the frenzied sound signature technique that brought him his fame ("Trinity" and "Kahraba") to the band's individual maneuverings of typical Egyptian standards such as the Northeastern Nile delta "Simsimiyya" in "El-Bawaba" or Upper Egypt's traditional "Mouled Saidi" in "Mouled El-Ghoul."
Following their 2013 mini-album Healing (AUK 108CD/LP), Weird Owl are back in 2015 with a full-length titled Interstellar Skeletal. For the first time since their formation in 2004, Weird Owl have kept the same lineup for consecutive releases, and Interstellar Skeletal reveals further explorations into the psychic canyons mined on Healing. Their psychedelic postcards are written in the cosmic breathiness of the synthesizer and the alien ululations of a guitar tuned to secret frequencies, rumbling through the ages on illuminated rhythmic grids. Each track on Interstellar Skeletal serves as an interdimensional portal to free zones beyond the usual terrestrial veil, whether it is via odd jungle shamanism ("Silver Ziggurats"), the WWII bomber as spiritual metaphor ("Flying Fortress"), death personified as an albino lycanthrope ("White Werewolf"), or the unsettling might of an extraterrestrial deity crashing a beach picnic ("God"). Interstellar Skeletal was recorded and mixed by Jeffrey Berner (Psychic TV, NAAM, Dead Stars) at Galuminum Foil Studio in Brooklyn in the fall of 2014, following Weird Owl's first-ever European tour. Although neither meticulously aped nor mindlessly conjured, the familiar influences of Spacemen 3, The 13th Floor Elevators, and The Brian Jonestown Massacre continue to find a home in Weird Owl's music, perhaps mostly in spirit form. Weird Owl was formed in Brooklyn, NY, in 2004 and has released two full-length LPs on Tee Pee Records, a mini-album on 'a' Recordings, Ltd. and several self-released EPs, including 2007's Nuclear Psychology. Their presence and longevity in the New York psych scene has garnered international attention and they have shared stages with bands such as The Brian Jonestown Massacre, White Hills, NAAM, Graveyard, King Tuff, Hopewell, Earthless, The Lovetones, Sleepy Sun, Assemble Head in Sunburst Sound, Quest for Fire, Spindrift, The Black Angels, Spectrum, Wooden Shjips, and others, including at the 2011 Austin Psych Fest and the 2014 Eindhoven Psych Lab in the Netherlands. As of this release, Weird Owl is John Cassidy (bass synth/bass guitar, synth), J. David Nugent (synth, vocals), Sean Reynolds (drums), and Trevor Tyrrell (vocals, guitar, synth). Anton Newcombe states: "The message is one of cosmic harmony and simplicity. The perfection of geometry and above all, beauty. Sometimes the messenger is a man and sometimes the messenger is an owl." CD includes one exclusive track.
WIZZZ! French Psychorama 1967-1970 Volume 3
LP version. Includes six-page booklet. One, two, three... hold your breath for 40 minutes for a peregrination through a special kind of pop music "made in France" between 1967 and 1970, a mix of ribaldry, flashes of brilliance, and adventurous twists on familiar sounds. We will plunge into French-style pop, unapologetic and defiant; blue-white-and-red pop that does not take itself seriously, not out of line with its "yé-yé" contemporaries, who were themselves uninspired by the boring, commercial teenage music that dominated in France at that time. It is pop music fueled by creativity -- though not always well-focused -- with peculiar arrangements, inspired compositions, and precarious production... but oh so tasty! WIZZZ 3 spotlights French artists who dared to try, to experiment... Includes tracks by Dansez avec Moa, Bernard Chabert, Joanna, Pierre Paul Jacques, Evariste, Jean-Bernard de Libreville, Crischa, Long Chris, Nato, Papy, Fatty Nautty, Balthazar, Jane et Julie, Bruno Leys, and Marcel Artero.
Thomas Brinkmann is renowned for audio works that hover among forms such as techno, minimalism, and ambient. Alongside such pioneering works as Klick (2000), Studio 1 - Variationen (1997), and 2012's duo with Oren Ambarchi, The Mortimer Trap (BT 006CD), with What You Hear (Is What You Hear) Brinkmann moves further to separate his art, not only from descriptive musical terms that oppress creative output, but also from the notion of an author in the act of creation. The 11 tracks on display form a series of self-perpetuating rhythms that exist more as sound structures than as any kind of traditional sound forms. Any associations, emotions, and reactions are purely in the reasoning of the listener as the artist makes a strong and deliberate move away from intent. This is a strident development in the conceptual thinking of Brinkmann's solid career, one that places the listener simultaneously inside and outside objective parameters. Dedicated to Zbigniew Karwkowski. Design by Stephen O'Malley.
Channeled madness -- the sound Dawn of Midi spent years shaping culminates in their most mesmerizing work yet. With Dysnomia, the Brooklyn-based group abandons improvisation in favor of composition, utilizing sophisticated rhythmic structures from North- and West-African folk traditions to weave a sonic tapestry of trance-inducing grooves. "We didn't want to create anything cerebral," says pianist Amino Belyamani, "we wanted something visceral, something that would awaken our instinctive dance impulses." The manner by which a trio of solely acoustic instruments ends up sounding like electronic music has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio's critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi's sets are as energetic and rhythmic as a seamlessly mixed DJ set, mesmerizing fans in the same way the group's favorite experimental and electronic acts have for decades. The album was recorded to two-inch tape at Waterfront Studios in Hudson, New York, a former church that was purchased and transformed into an analog recording playground by the great engineer Henry Hirsch. Rusty Santos then mixed the album to make sure it would hit as hard as the group's favorite electronic albums do in spite of being entirely acoustic. "We wanted to make a record that sounded both musically futuristic and sonically vintage," explains bassist Aakaash Israni, "and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting." Swiss artist Fabian Oefner created the cover image by placing paint on a spinning drill bit and firing it at a canvas, then capturing it with high-speed photography. Formed in 2007, the band happened upon their name after drummer Qasim Naqvi casually uttered the phrase in reference to the improvised music the trio was making at the time; they had no idea that years later they would make an album like Dysnomia that would make their name appear fateful.
This album, originally released in 1972, can be put in the field of so-called "library music," records made for use in movies and TV productions, commercials, and for similar purposes to enhance the tension of the atmosphere in very dramatic scenes or accompany the more mellow and relaxed moments with lush harmony carpets. And of all these library albums, this is one of the most sought-after by collectors around the world due to the musical quality of its content. And so we sit back, relax, close our eyes and get ready for the movie that only exists in our imagination. Stringtronics take us on a journey from the dark city gorges of any North American metropolis, where steaming hot, funky, and jazzy rhythms amalgamate and are clothed in a veil of lush string arrangements, to the banks of the river Seine, where painters draw portraits of tourists and people sit in the sun, relaxing to the typical chanson melodies full of melancholy and joy. In there is a tinge of the 1950s exotica music here and there, alongside Latin grooves and some rock elements shining through in the soundscape. It is fantastic but not easy to categorize -- it could appeal to fans of US movie soundtracks from the early '70s and late '60s created by folks like George Clinton, but also to those who enjoy the early works of such electronic pop pioneers as Wendy Carlos, and to space-age pop aficionados. It is all here, and the participating musicians paint their melody-and-rhythm patterns with an enormous feeling for depth and emotion. A masterpiece!
Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!
One of the more delicate recordings of Sun Ra's 28-strong Arkestra, Sleeping Beauty drifts in on a cloud of cosmic dust, sounding unlike anything before or after. With drummer Luqman Ali keeping the narcotic funk, but with dreamy solos from other key Arkestra players like John Gilmore, Michael Ray, and Marshall Allen, no Sun Ra collection is complete without this LP. Inspired space-age lullaby music, originally released on Saturn Records in 1979.
"Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering '80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis was formed in London, England, in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music, and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies and 1950s graphics and comic book imagery, and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, Surface Tension/Connections on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton, and other live venues. Their first demo tape and 12-song New Mexico cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds, and Soundmaker. For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo that influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four-song 12" EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers.' This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10-year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black-and-white 160-gram vinyl and housed in a glossy gatefold silver-and-black printed sleeve, featuring all the song lyrics on the inside of the sleeve."
On the leading edge of NYC's underground music scene, Vito Ricci produced only a handful of self-released cassettes and one LP between 1983 and 1985, with most of his work recorded for experimental theater and performance art pieces. Taking their label name from Ricci's only LP, Music From Memory brings together a compilation of works by one of the unsung heroes of New York's downtown music scene. Starting out as a percussionist, Ricci's early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo, and Yousef Yancey. He quickly became involved in the avant-garde scene with spoken word performances, film scores for independent movies, and even performances with punk bands at venues such as CBGB's and the Mudd Club, and his compositions drew on all of these influences while channeling them through his experiments with synthesizers and drum computers. Drawing comparisons with New York's downtown no-wave scene, Vito's compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotizing ambient, meditative minimal-synth, dubbed-out electronic funk, and even left-field boogie. With most of Vito Ricci's music remaining previously unreleased, the compilation I Was Crossing A Bridge unveils Ricci's unique and visionary take on electronic music.
After moving to Denmark in 1972 and abandoning music for a spell, the legendary Spider John Koerner returned to the U.S. in 1974 to record an LP for Dave Ray's Sweet Jane label. The resulting record is one of the finest of his 50-plus-year career. As its title implies, the album displays a conscious move away from the folk-blues stylings of earlier recordings and toward an embrace of traditional American folk music. The enduring quality of its songs is evidenced by their continued inclusion on Koerner's set lists over 40 years later. This first-ever reissue of Some American Folk Songs Like They Used To is the fourth release by Koerner on Nero's Neptune. Available in a limited artist's edition of 300 numbered copies, the record is mastered from remarkably well-preserved first-generation reel-to-reel tapes. The lacquers were cut by Ralph Karsten at Atma-Sphere, and the LP pressed at RTI. There is no digital technology used at any point in the process. Not only is the sound better than on the original 1974 release, but the beautiful, hand-printed covers feature new and improved artwork from a woodblock designed by Nero's Neptune art director and recording artist Paul Metzger.
In celebration of the opening of German national park Hunsrück-Hochwald, Wolfgang Voigt has conceived an abstract, ambient-infused sound installation which can be experienced as a kind of "acoustic hike through the forest," thanks to a series of loudspeakers allocated in a natural environment. This approximately hour-long piece of music is a freeform improvisation on a classic sonic scenario made of strings and winds, processed with electronic means. The rather elegiac billows of sound flow into each other and part again, like a musical early morning fog in a "reverse-enchanted" woodland. They weightlessly trek alongside auspicious shadows of atonality, across gentle hills and valleys, through gleaming clearings into eternity. The visual equivalent to this fantasy can be found on the CD cover, by way of a hypnotically focused view of a forest and its intricacies -- harkening back to Voigt's Gas concept series and the '90s albums Königsforst, Zauberberg, and Pop. As with Gas, both the music and the visual design of Rückverzauberung 10/Nationalpark formalize an essentially Voigtian simultaneity of an idea of romanticism based on nature-induced rapture and an approach to the beauty of surfaces trained by pop art. Nationalpark is the tenth part of the open concept series Rückverzauberung.
Berghain 07 - Part II 12"
Comandamenti per un Gangster LP
Big Saints Reward (1988-1990 Dubs) 12"
Re-Edits & More Vol. 5 12"
Brother I Prove You Wrong 2LP
Super Mario Bros. Original & Orchestral Version 7"
Dysnomia (Clear Vinyl) 2LP
The Valley of Songs EP 12"
Summer Into Winter/North Marine Drive LP
Space Explorations EP 12"
Never Satisfied - The Complete Works: 1968-1983 2LP
Optimo Disco Plate 4 EP 12"
One Night on Earth: Music from the Strings of Mali LP
Three Colors: White LP+CD
Three Colors: Blue, White, Red 3CD
The Double Life of Véronique CD
The Double Life of Véronique LP+CD
The Heliocentric Worlds Of Sun Ra Vol. 2 LP
The Heliocentric Worlds Of Sun Ra Vol. 1 LP