Dagored presents the first complete vinyl edition of Claudio Gizzi's sophisticated soundtrack for the ultra-cult film Flesh for Frankenstein. The legendary 1973 work was directed by Paul Morrissey and produced by Andy Warhol and stars a young Udo Kier. With its sad tone, the score perfectly matches the cold and cruel realism of this bizarre horror film. Double vinyl pressed on mixed double colors and presented in gatefold sleeve with deluxe embossed cover. Limited numbered edition of 1000 copies. Released alongside Gizzi's Andy Warhol's Blood for Dracula (RED 213LP).
Jane Weaver follows her acclaimed 2014 album The Silver Globe (EGGS 019CD/LP) with a split single of free, visionary, exciting independent pop music. Album highlight "Don't Take My Soul" (co-produced by Andy Votel) combines domestic synthpop with falsetto melodics and 10cc-sounding prog pop arrangements, something like Kate Bush karaoke fused with a J-pop Erykah Badu. The track ends with a guitar solo from Badly Drawn Boy that sounds like a cryogenic experiment from his pre-Bewilderbeast days. Label-mate Tender Prey (Laura Bryon) brings her inimitable drummy saccharine-tinged pow-wow punk to the fray with the effortless "Undisputed Heavyweight Champion of My Heart."
Muffled hammering grows rhythmical. An uncarpeted snare joins in, clicks and clacks, babbling, racing. Automat and Max Loderbauer open proceedings on Bureau B's Selekt label quite masterfully with an auspicious four-track EP: Verstärker/Hall/Kompressor/Echo. Automat, busy recording their second album, came across Max Loderbauer in the neighboring studio. They got along swimmingly and started working together straight away. "Everything played live, no overdubs," as Automat's bass player Georg Zeitblom confirms -- first take, no shake. The studio was stripped down to basics. No computers: a tape machine, guitar amplifier, analog EQs, rehearsal space. "Re-rewind, the crowd say Bo Selekter!"
Yannick Dauby is a sound artist based in Taiwan since 2007. He relentlessly explores the soundscapes of his adopted island through field recording, audio documentaries, and community projects. He has created soundtracks and sound environments for contemporary dance, public art, and films, and has been involved in various ecological and local traditional activities. Dauby stayed in Penghu, an archipelago located in the Taiwan Strait, during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching, and composing musique concrète in a temporary studio, an old building from which he could hear the seashore and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this environment, Yannick composed the two sides of this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbors, music played during funerals, shortwave radio broadcasts, in-site or indoor improvisations using old artefacts, and various sessions using analog electronic instruments.
La Musique dans le Film d'Alain Resnais (L'Année dernière à Marienbad, Hiroshima Mon Amour, Muriel)
This unedited collection of soundtracks to the films of Alain Resnais explores the legendary French director's relationships with some of the greatest composers of the era: Georges Delerue (whom Le Figaro dubbed "the Mozart of cinema"), Giovanni Fusco (known for his work with Michelangelo Antonioni), Francis Seyrig, and the great Hans Werner Henze. First pressing limited to 500 copies.
Double LP version. Legendary DJ, remixer, and producer Daniele Baldelli presents Cosmic Drag, a work that is something more than just a heartfelt twisted dance album. During his long residency at Cosmic, the nightclub by Lake Garda in Italy, Baldelli mixed funky disco, electronic, synthpop, reggae, fusion, rock, funk, Brazilian, African folk, Indian melodies, batucada, and jazz, and became famous for his eclectic meltdowns in which he might drop Ravel's Boléro overlapping with a Djola track or an experimental piece by Steve Reich mixed together with a Malinke chant from New Guinea. His worldly, hypnotic sets brought together the sounds of Kraftwerk, Fela Kuti, the Sky Records catalog, Killing Joke, Incredible Bongo Band, ZAZA, Chris & Cosey, Antena, Azymuth, Yellow Magic Orchestra, and Yellowman, all often played at improper speeds and mixed with effects and drum machines. This practice gave birth to the cosmic sound, a highly influential musical movement that set itself apart from the Italo-disco scene. Since then Baldelli's record bag has stayed eclectic and he still plays scintillating sets all over the world. One can feel Baldelli's vast musical roots in the electro vibes and the techno-driven grooves. Sometimes the funk hits hard, while in the next moment the listener is blown away by futuristic soundscapes. All of these arrangements have in common a cosmic dust that melds a playful sense with high-flying synth-lines and outer-space tones. A truly weird, mesmerizing album that stays appealing while experimenting profoundly. Baldelli describes the album's inspiration: "Most of my ideas emerge while travelling by train, driving my car to a club where I will perform, and foremost when I devote myself to listen to my large vinyl collection." It's a statement that explains why his tracks often build a bridge between careless, funky '70s vibes, offish '80s coolness, and the freedom of '90s rave culture, while landing fresh and unafraid in the present and carrying the listener away into spheres where the self is forgotten among irresistible rhythms and melodies.
"The totality of Edwin Stevens's vast appeal as a musician isn't usually something you can get to grips with by listening to one record alone. As the alpha member of the Manchester underground music nerd set he's played regularly in at least five completely stylistically unconnected formations at any one time and probably more like 50 in total. Disappointment is exactly the kind of record I always dreamed about putting out by an Ed-led project and only knowingly incongruously titled in the sense that it might be a response to the arrogance fundamental to Manchester's depressingly irrepressible musical heritage. It's a unification of everything he's been brilliant at within various contexts. I love to see him ecstatically ripping it up ostrich freestyle in Desmadrados Soldados de Ventura, Zweiters, and Yerba Mansa. But that doesn't mean I don't want him to sing me beautiful sincere Irma songs of apology and regret or slaughter his guitar like it's an opponent in a Wrestlemania contest, like he does in Klaus Kinski. All those normally disparate elements coalesce on this wondrously weird, hypnotic, earnest, outer limits rock record, which is why I was so bloody keen to put it out when he first played it to me in his kitchen last autumn. Not that he'd have struggled to get anyone else to do it. Listen to the thing -- it's ruddy sublime, which makes his one word sign-off on the sleeve notes all the more annoying: 'Sorry,' he says. Pfft!" --Nick Mitchell, founder, Golden Lab Records, December 24, 2014
Avalon Ballroom, San Francisco November 2nd 1968
Keyhole presents the double vinyl edition of this remarkable set, also available on CD (KH 9036CD). This performance was taped for radio broadcast in 1968, very soon after The Byrds' new line-up of Roger McGuinn, Clarence White, Gene Parsons, and John York had coalesced. Despite the recent tumultuous departures of Chris Hillman and Gram Parsons, the band turns in a superb series of performances featuring a fascinating selection of songs (several of which they rarely played), with especially noteworthy guitar work from the great Clarence White. It's presented here with remastered sound, complete with background notes and rare photographs, making it a vital document for all connoisseurs of '60s rock. Pressed on 180-gram vinyl.
Blue vinyl. Limited to 300 copies. Beppu aka Andrew Hargreaves (The Boats) ratchets up the industrial levels with the second part of an album trilogy that started with Coercion in 2014. On Persuasion he allows the machines to lead the compositional process, letting himself be taken into the red by unrelenting, Vainio-style noise pulses and four-to-the-floor kicks with rail-gun 16ths side-chained to near-oblivion with a bone-head momentum. Sonically, one can trace the record's roots back thru the narky grooves of Spanish industrialists Esplendor Geometrico, while the album name and track titles pay tribute to James A.C. Brown's 1963 book on brainwashing, Techniques of Persuasion, with names and notions like "Institutional Neurosis" or "Subliminal Perception" firmly backed up by spirit-crushing drums and vicious synthetic atmospheres. It stomps on the fine line between anger and catharsis, freeform atonality and melodic sleight of hand. RIYL Shapednoise, AnD, Throbbing Gristle, Esplendor Geometrico, Pan Sonic. Mastered and cut by Matt Colton at Alchemy.
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera -- a mutant configuration of two genetically discrete solo works -- was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and is now presented on LP. In Hecker Leckey Sound Voice Chimera, Hecker decomposes, modulates, and re-synthesizes the vocal track from Leckey's 2010 performance piece GreenScreenRefrigeratorAction (for which Leckey intoned the inner monologue of a black Samsung fridge) and his own 3 Channel Chronics installation from that same year, where distinct sounds from three speakers telescoping down from the ceiling were combined and altered by visitors' movements. The resulting work -- like that three-headed beast of Greek mythology -- is a multivalent, tri-part hybrid in which heavily distorted fragments of Leckey's narrative intersperse Hecker's synthetic textures and fidgety tonal patterns. On the PAN release itself, channel 1 from Hecker Leckey Sound Voice Chimera corresponds with side A and channel 2 with side B; channel 3 is available as a monophonic mp3 download. Florian Hecker returns to PAN following his 2011 vinyl issue of Sun Pandämonium. Trained in computational linguistics and fine arts, Hecker's work deals with specific compositional developments of post-war modernity, electro-acoustic music, and psychophysical domains of audition. Mark Leckey is a British artist, pop-culture provocational agent, and self-described autodidact working across sculpture, sound, film, and performance. His notable video works (collaged from found material) include the 1999 cult short Fiorucci Made Me Hardcore (soundtrack available on The Death of Rave (LECKEY 001LP)) and Industrial Lights and Magic, for which he was awarded the Turner Prize in 2008. A career retrospective, "Lending Enchantment to Vulgar Materials," was presented at WIELS in Belgium, and his work is included in the collections of the Centre Georges Pompidou, Hammer Museum, and Walker Art Center, among others. He has served as Film Studies professor at the Städelschule in Frankfurt-am-Main, Germany, and is currently Reader in Fine Art at Goldsmiths, London. The first comprehensive monograph of his work, On Pleasure Bent, was published in 2014. Hecker Leckey Sound Voice Chimera is written and produced by Florian Hecker; GreenScreenRefrigeratorAction courtesy of Mark Leckey. Mastered and cut by Rashad Becker at D&M. Includes liner notes by art historian Alex Kitnick, and artwork by Florian Hecker and Bill Kouligas.
Another installment in Sub Rosa's Early Electronic series: selected works, including previously unreleased material, recorded between 1978 and 1980 by a key composer of Belgian electronic music. André Stordeur was born 1941. His musical career started in 1973 with a tape composition for the soundtrack to Gordon Matta-Clark's film Office Baroque. Later in the 1970s, he participated in avant-garde music ensemble Studio voor Experimentele Muziek, founded in Antwerp, Flanders, by Joris de Laet. Since 1980, Stordeur has composed exclusively on Serge synthesizers -- either a Serge series 79 or a Serge prototype 1980, which Serge Tcherepnin built for Stordeur. In 1981, Stordeur composed the soundtrack to Belgian director Christian Mesnil's documentary Du Zaïre au Congo. He studied at IRCAM in 1981 with David Wessel and then flew to the US to study with Morton Subotnick. Stordeur became an influential sound synthesis teacher and, in 1997, completed his Art of Analog Modular Synthesis by Voltage Control, a guide to everything modular. Analog and Digital Electronic Music 1978-2000 includes Stordeur's only album, 18 Days, originally released in 1979 by Igloo, and the 1980 composition "Oh Well." Housed in a gatefold sleeve.
Swiss electro-acoustic artist Israel Quellet's fourth opus on Sub Rosa: a complex and mysterious work for symphonic bass drum, symphonic tympani, organ, Tibetan horn, homemade horn, triangle, tubular bells, shocks inside the church, anvil metal tank, and church bells. A challenging listen, but so rewarding.
Edition of 400 copies. Includes original photos from the recording sessions. High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, Charlemagne Palestine's "HellsBells" became the sonic mainstay of 53rd Street and 5th Avenue, NYC, from 1963 to 1970. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if he'd be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time above 53rd and 5th, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. This LP collects some of the most relevant recordings from those early days. Side A presents the complete reel-tape "Bells Studies," an intense, pulsating work in five movements. It begins with slow, hypnotic, large sonorities and accelerates into more dense and maximal explosions. Side B collects some shorter studies: "Bells," the two parts of "Confiscated Bell Tape," and an excerpt from "Dumb Bell Tape." Each track was recorded by the composer in single takes around 1965 and unheard since, until now.
Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Ariel Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose (BS 007LP). The deep consciousness of the compositional techniques of Indian ragas is mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneiric tones but always dialoguing with a higher cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions, Kalma becomes the creator of soundscapes from the endless myriad shades. Such a fusion of Western avant-garde and eastern tradition approaches other big names of the international panorama such as Popol Vuh, Angus MacLise or László Hortobágyi. The master comes from the original 1/4'' analog tape from the '80s. Limited edition of 300 copies in a gatefold cover with info.
1. (Electrical Engineering) the stationary part of a rotary machine or device, esp of a motor or generator
2. (Aeronautics) a system of nonrotating radially arranged parts within a rotating assembly, esp the fixed blades of an axial flow compressor in a gas turbine
[C20: from Latin: one who stands (by), from stāre to stand]
Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his "ambient techno" and "arctic ambient" styles and his use of loops and peculiar samples from sci-fi sources. His 1997 album Substrata is generally seen as one of the all-time classic ambient albums. Deathprod is a pseudonym used by Norwegian artist Helge Sten. Sten began creating music under this name in 1991, and in 2004 a self-titled retrospective box set collecting most of his recorded work was released. Sten uses homemade electronics, old tape echo machines, ring modulators, filters, theremins, samplers, and other devices to craft his sound. Jenssen and Sten previously collaborated on Nordheim Transformed (RCD 2005CD), a 1998 collection of reworked Arne Nordheim compositions. Stator is a split release, with three tracks by Jenssen and four by Sten. Mastered by Sten at Audio Virus Lab, Oslo. Commissioned by Tape to Zero. LP includes full-color insert card by Jon Wozencroft.
Originally self-released in 1995 on 100 cassettes, Swearing At Motorists' long out-of-print self-titled debut album is now reissued by A Recordings. Recorded in 1994 on equipment borrowed from roommates Brainiac, this 17-minute lo-fi gem was Dave Doughman's first experiment with songwriting and home recording. The reissue serves as insightful glimpse into the beginnings of the band, whose album While Laughing, The Joker Tells the Truth (AUK 113CD/LP) was released in 2014. Swearing At Motorists have come a long way since their birth on a poster for a fake band in 1994. A few months after the posters mysteriously appeared in record stores and music venues around Dayton, OH, Doughman jokingly scrawled the name on a cassette of home recordings that he gave to friends, and the band was officially born, joining already established Dayton bands Guided By Voices, Brainiac, and The Breeders in releasing music made in the Miami Valley. The late '90s found S@M releasing a slew of 7" EPs on different labels, and after getting repeated plays from the BBC's John Peel and favorable press worldwide, the band landed a contract with Secretly Canadian, with which they released two EPs and four LPs, including 2000's Number Seven Uptown and 2002's This Flag Signals Goodbye, both of which were named MOJO's "Underground Album of the Year" for their respective years. This reissue precedes the band's 2015 appearance at South By Southwest, where they will also play several day parties, including their own, the second annual All Tomorrow's Tacos (a mix of bands and stand-up comics). Swearing At Motorists: 20 years and two million miles under the radar. LP pressed on 180-gram vinyl.
LP version. On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.
Tokyo-based all-female instrumental trio Nisennenmondai formed in the late '90s and took their name from the Japanese translation of the then-current phrase "Y2K bug." Nisennenmondai - Live At Clouds Hill features live versions of songs from the band's acclaimed 2014 album N (PTYT 083CD) recorded by Johann Scheerer (producer for Gallon Drunk, Bosnian Rainbows). This recording is part of Scheerer's Live At Clouds Hill series, and follows his practice of inviting the band to perform in front of a small audience in his Hamburg studio, Clouds Hill Recordings, for a maximum of 64 minutes -- exactly the length of two analog tapes. Scheerer recorded and mixed the performance live, and straightaway sent off for mastering and vinyl manufacturing. This process forces Scheerer, the performers, and the audience to focus on the unique present moment, as the final outcome is irreversible. Purchase of the album grants access to exclusive video footage of the recording session through play.clouds-hill.com.
The first volume in Glitterbeat's Hidden Musics, a series of unmediated field recordings of lesser-known global music traditions. War Is a Wound, Peace Is a Scar is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, The Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep, personal connections to the upheavals of the Vietnam War; the recordings' mesmerizing mood navigates the blurred line between raw beauty and sadness. An album of cautious healing and an unforgettable meditation on conflict, resistance, collective memory, and the longing for what has been lost. Brennan recalls the recording process for this remarkable document in the album's liner notes, excerpted here: "We had gone to Hanoi to record veterans from their side. Some were music masters, one of whom had joined the army at age thirteen and whose job it was to sing to the troops to boost morale and provide solace. Another was a former AK-47 issued village leader who had not sung in over forty years, and proved to be the most dead-on vocally. She did not hide or adorn, but quietly revealed muted emotions that a microphone often can detect more easily than face-to-face interaction. Then, immediately afterwards, she withdrew back into a stoic shell... With a whammy-bar technology that dates back to the ninth century, it is fair to say that Vietnamese traditions had a bit of a head start over the headbangers of the 1980s. A startling revelation was a plucked instrument (the k'ni) that is clasped between the teeth as the local dialect... is spoken through the
single string. What sounds like an extraterrestrial instrumental to the uninitiated actually contains coded, poetic lyrics... Let it suffice to say that these artists are a far cry from the lip-synching karaoke show that we saw on the local cable, with groups of teenagers cavorting on a soundstage and mouthing the words to K-pop songs -- air-karaoke, if you will -- that managed to render something pre-fab even less real. These elders carry a haunting, but muted sadness that seems only fully revealed through the music that they valiantly keep alive in the face of industrialization, waning regard and interest, and the rapid homogenization and 'progress' overtaking their homeland."
If you're continuously searching the margins for lost artifacts of the pop pantheon, you can find your daily dose in late period exponents of pure, lean, Beatlesque power pop band Promise. Originally issued in 1980 on the Boulder, Colorado, area band's own Cumulus label, their eponymous debut is filled with melodic, beatific blasts of pure pop, replete with ringing, jangly guitars and rollicking crunch. Co-led by singer-songwriters and guitarists Curt Mangan and Danny Mey -- with aid provided by the just-right rhythms of bassist Randy Jones and drummer Gary York -- the group created an album with precious little allying it to the punk-inspired power pop or prescient new wave of the time, instead choosing to hone in on a classicist pop sound highly indebted to those famous moptops from Liverpool. Abetted by the fact that some of the group's members had been playing together since their teenage combos of the mid '60s, the album carries an out-of-time flair across surging rockers and mournful balladry. Got Kinda Lost Records is ecstatic to give this benchmark of privately pressed power pop another chance to shine with this first ever reissue. Includes exhaustive liner notes by Jeremy Cargill (Ugly Things Magazine) culled from interviews with Mangan and Mey. RIYL: Badfinger, Big Star, early Cheap Trick, Emitt Rhodes, The Raspberries, Liverpool Echo, The Scruffs, Shoes, Dwight Twilley Band, etc.
Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque and orchestral pop, and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice while his words combine his personal experiences, neuroses, and fantasies through many layers of abstraction, poeticism, and dark humor. While the deft acoustic guitar fingerpicking of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute, and pedal steel guitar and feature contributions from Simon Scott (Slowdive), Annie Nilsson, and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom Blackshaw duets in Japanese on one song). LP pressed in a first edition of 500 copies.
Following the international success of his acclaimed 2013 debut album Drone Logic (BEC 5161626/5161627), Daniel Avery expands his wide-reaching world with a carefully curated collection of remixes from the artists with whom his forward-facing electronic style shares the deepest affinity. Inviting each producer to either complement, reconstruct, or occasionally rebuild his original compositions, New Energy stands as a testament to the strength of the current state of affairs in electronic music, borne out of one of its most original talents. Includes remixes by Gabe Gurnsey, Roman Flügel, Volte-Face, Ø [Phase], Silent Servant, Matt Walsh, Kink, Beyond the Wizard's Sleeve, Rødhåd, Audion, Perc, Ricardo Tobar, Conforce, Powell, Special Request, and Danny Daze.
Rubble presents a deluxe five-disc box set comprising of all four original volumes of the highly revered Psychedelia compilation series originally issued in limited quantities by Tiny Alice Records in the early '90s. Disc five is the previously unreleased volume originally intended as the last in the series. An herbal mixture of psychedelic remedies and freakbeat fantoms collected together for your listening pleasure. Ultimately rare and genuinely obscure sounds recorded around the world between 1966 and 1974, with a particular eye on the hidden rumblings of British psychedelia. Spans the psychedelic period with ultra-rare and previously un-compiled nuggets from Enough's Enough, Wheels of Time, Virgin Sleep, Mandrake, Now, The Scene, The Factory, The Difference, Autumn, Mooche, Blue Effect, No to Co, and many others. A musical hocus pocus with 67 blasts of psychedelic artifacts and freakbeat enigmas. Fully remastered; includes 32-page full-color booklet with expanded liner notes, detailed biographies, full discographies, and a plethora of rare and original photos and memorabilia not originally available in the vinyl series. Also includes tracks by David, The Matadors, Alan Avon and the Toyshop, Svensk, The Jackpots, Junior's Eyes, State of Micky and Tommy, The Bluejeans, Cape Kennedy Construction Company, Giorgio and Marco's Men, The Hi-Fi's, The Gibsons, Kinetic, Glass Opening, Freedom, Edwick Rumbold, Executives, John Carter and Russ Alquist, Favourite Sons, The Tangerine, Motivation, Tickle, Kirkbys, Anteeks, Kippington Lodge, The Fire, Wayne Faro's Schmaltz Band, Steerpike, Smoke, Orange Machine, The Barrier, Ron Grainer Orchestra, Jigsaw, Team Dokus, Tales of Justine, Nimrod, White Trash, Flames, Nashville Teens, The Mirage, George Bean, The Majority, Esperanto, 1984, Electric Food, Henry Schifter, Harsh Reality, LA, and Shere Khan.
Shades of a Blue Orphanage LP
Vagabonds of the Western World LP
Hope from Rikers Island LP
La Musique dans le Film d'Alain Resnais (L'Année dernière à Marienbad, Hiroshima Mon Amour, Muriel) LP
Avalon Ballroom, San Francisco November 2nd 1968 2LP
Penghu Experimental Sound Studio Vol. 1 LP
Psycho (The Original Film Score) LP
Optimo Music Disco Plate Three 12"
Don't Take My Soul/Undisputed Heavyweight Champion of My Heart 7"
Jules et Jim/Tirez sur le pianiste LP
Analog and Digital Electronic Music 1978-80 2LP
Andy Warhol's Flesh for Frankenstein 2LP
Andy Warhol's Blood for Dracula LP
The Original Masterpiece LP
Myth/Myths and Structures 12"
BELP feat. Becky Reynolds Band 10"
Membrillo's Ride/Rugby 7"
Northern Acid/All-Nighter 7"
Groovallegiance: 10 Super Rare Original Funky Tracks from the Late Sixties to the Early Seventies LP
Partitas for Long Strings CD
40 Years and One: Philip Corner Plays the Piano CD
90% Post Consumer Sound CD
Ten Thousand Shades of Blue 2CD
The Divine Drummer Odumankuma CD
When Disaster Strikes... 2LP