BRÖ presents Mollie's in the Mood by Peter Brötzmann & Jason Adasiewicz, the label's third LP since its revival in 2003 and the sequel to the Brötzmann/Adasiewicz 2012 tour-only CD. Recorded in "you-are-there" fidelity, the LP captures a performance at Chicago's Hideout on the duo's 2012 U.S.A. tour. Brötzmann played alto and tenor saxophones, b-flat clarinet, and tárogató; Adasiewicz played vibraphone. This is what happens when the most original vibraphonist of his generation slams into a force of nature. Vinyl cut at Sterling Sound by Steve Fallone and manufactured by Record Technology, Inc. Hand-pulled screen-printed covers on heavyweight Stoughton "laser disc" sleeves by Alan Sherry (Siwa). One-time pressing in an edition of 600, vinyl only.
Bolder Damn's 1971 album Mourning is an absolute monster among U.S. hard rock private pressings. Hailing from Florida, Bolder Damn boasted an ultra-heavy, "raw-in-your-face" sound with devastating fuzzed-out guitar, a solid rhythm section, and manic vocals. First discovered and reissued by the legendary Rockadelic label in 1990, the album has gained a cult status among new fans of '70s proto-doom and hard rock sounds since then. Bringing it back into print after many years, Guerssen presents the definitive vinyl reissue of Mourning, featuring original artwork and fold-out insert with liner notes, interview with singer John Anderson, and rare pictures. Remastered sound. Highly recommended if you like Sabbath, Blue Cheer, Pentagram, MC5, Sainte Anthony's Fyre...
Three early compositions (1968-1970) by Steve Reich, one of the most prolific exponents of minimal music, in stunning interpretations by the critically-acclaimed Ensemble Avantgarde. Available on vinyl for the first time ever. Steve Reich (born 1936) is undoubtedly one of the key figures in 20th century contemporary music, and along with Terry Riley or Philip Glass, one of the founding fathers of so-called minimal music. With classics like "18 Musicians," "Drumming," or "Different Trains," the American composer proved himself one of "a handful of living composers who can legitimately claim to have altered the direction of musical history" (The Guardian). The four pieces on this collection date back to the time before his famous masterpieces (1967-1970): "Four Organs" and "Phase Patterns" build on short, repeated patterns that gradually go in and out of phase with each other, creating "a shimmering matrix of sound that is both hypnotic and fascinating in detail" (Allmusic.com) and anticipate Reich's later trademark sound. "Pendulum Music" is a process piece where only a few starting parameters are given: four microphones are suspended within an array of amplifiers and speakers, then set in motion -- the shifts in feedback as they move in space create the music, and the results differ with each new performance (as can be experienced listening to the two versions here). Reich's early works are presented on this LP in stunning interpretations by Leipzig-based Ensemble Avantgarde, whose dedicated, inspired renditions of essential masterpieces of modernism (documented on CDs on reputed labels such as Wergo or Hat Hut Records) won them the Ernst von Siemens Foundation Prize and the Schneider-Schott Prize of Mainz. 180 gram, gatefold sleeve, download code. Ensemble Avantgarde: Steffen Schleiermacher (organ, piano, electronics), Josef Christof (organ, piano), Michael Obst (organ), Klaus Steffes-Holländer (organ), Stefan Stopora (maracas), and Martin Demmler (electronics).
*Special Edition includes a bonus 10-track, hour-long CD featuring all the Millie & Andrea singles released between 2008-2010, the first time they have ever been available on CD format.* Millie & Andrea are Miles Whittaker and Andy Stott, fellow label-mates at Modern Love who collaborated on an occasional series of 12" releases between 2008 and 2010. They now return with Drop the Vowels, their debut album. Produced fast and loose through late 2013/early 2014, it's an album that recalls the strict and stripped funk of Anthony Shakir as much as it does Leila's incredible debut Like Weather, eschewing the dark aesthetic both producers are best known for in favor of something much more visceral. It's an album borne from a love of both pop and club music, made to evoke an adrenalized, hedonistic, as well as an emotional response. Opener "GIF RIFF" brings to life a gamelan edit stripped bare before the over-compressed "Stay Ugly" breaks out with a tumbling, broken arrangement situated somewhere between Richard D. James and Jai Paul. "Temper Tantrum" and "Spectral Source" follow, versions of tracks originally released on the second and third Daphne EPs respectively, the former a rugged rave anthem tempered by blue strings, the latter a proper dancefloor destroyer recalling Shake's mighty "Madmen." "Corrosive" flits between a fibrillating, arpeggiated steppers' rhythm and a brutal jungle breakdown, while "Drop the Vowels" further explores and strips bare bass & drums before the slow but jacking warehouse killer "Back Down" provides pure percussive abandon. "Quay" ends the set with something quieter, a sublime coda made entirely from field recordings. Mastered and cut by Matt Colton.
Deas is the new moniker of London-based guitarist Cameron Deas, and String Studies, his first LP of all electronic-based material, is unlike anything else he's released. Recorded at home between February and March of 2014, the 8 pieces on this LP were recorded live with very few overdubs, with Deas's 12-string acoustic guitar used as a sampling source to trigger and in turn be manipulated by a modular system. The immaculate production and scalpel-sharp twists and turns found within the music display a remarkable level of confidence and intuition in Deas's new process, which makes it difficult to believe that this is his first documented work within the electronic medium. Mastered by John Hannon at No Recording Studio.
A modern-day revenge tragedy. Symmetrical, fine-spun, almost courtly; but quick-tempered, and far from blood-shy. A picture emerges: domestic disturbance, pissing on the compost heap, noise complaints from hateful neighbors. Sulking, pouting, goading. Cold leaves and Christmas. Body-clocks betrayed, seasonal adjustment disorders. Collecting bottles to smash in the parking lot. Marijuana and make-believe. A flaming bower of unbliss. Recommended for fans of A.C. Marias, Brenda Ray, General Strike, The Poems, Robert Storey, and other purveyors of shut-in, fitfully serene dub dysfunction. Created by C. dal Forno and T. Manek. Mastered by Dan Elleson and cut by Matt Colton. Edition of 300.
2014 vinyl repress, originally released in 2009. Clovis Goux and Guillaume Sorge aka Dirty Sound System have been releasing selections of rare, little-known, and hard-to-find recordings which function somewhat like anti-playlists since 2003. Their compilations can be listened to from start to finish, the order of the tracklist is logical, and the selected songs lend themselves to repeated listening. After the series Dirty Diamonds, two compilations of Dirty Edits played by the world's most influential DJs, the creation of a regularly updated blog, Alainfinkielkrautrock (www.alainfinkielkrautrock.com), and a space disco CD that prefigures the general craze surrounding the genre, Dirty Sound System is back. On paper, Dirty French Psychedelics is a compilation for classic rock radio with names our parents would recognize. In reality, it is a hallucinated voyage through the land of French pop psychedelics to be listened to in one sitting, eyes half-open in the heat of the summer of 2009. Certain experts will tell you that Bernard Lavilliers and Brigitte Fontaine are not psychedelic, and they are probably right. Who cares? Dirty French Psychedelics is intended for fans of French pop from Serge Gainsbourg to Air, for people who want to discover or rediscover the music of the '70s, for those who want to listen to music without really paying attention and for those who want to listen attentively through their headphones. What happened in France at the beginning of the 1970s? The hippie venture terminated in a bloodbath in 1969 (a horrendous year: Altamont and the murder of Sharon Tate), heroin replaces LSD and the survivors aren't long for this world. 146 kids die in a nightclub fire in Saint-Laurent-du-Pont. De Gaulle in his bed: "Tragic ball at Colombey: 1 Dead". In primitive black and white, Jean Eustache's La maman et la putain buries a generation that lost its bearings (a possible definition of psychedelics). It is the same year as the oil price shock. The longest solar eclipse of the century (6 min 20 s) forecasts future oil slicks. God is dead, Marx suffers, a Maoist commando attacks a Fauchon grocer. Dirty French Psychedelics is a subjective vision of this disoriented period. Instead of the France of experiences (Gong, Alpes, Magma, and so forth), this compilation prefers the France of the freelancers (Dashiell Hedayat, Alain Kan), the master-singers (Christophe, Nino Ferrer, Brigitte Fontaine), the composers (Karl-Heinz Schäfer, François de Roubaix, Jean-Claude Vannier), the anomaly among "the variety" rather than the norm in "the margins." Other artists include: Cortex, Jean-Jacques Dexter, and Ilous & Decuyper.
For the fourth volume of its Southern Sounds Series, a collection focused on forgotten legends of soul, funk, and R&B, En Avant la Zizique! presents An Introduction to Larry Birdsong. Larry Birdsong (born Lawrence E. Birdsong) possessed one of the most beautiful voices to come out of Nashville, Tennessee's R&B golden age, and was widely predicted to become a national sensation. History unfortunately proved otherwise; despite his ease and versatility with the styles of blues, jazz, gospel, rock 'n' roll, R&B, and soul, Birdsong never made it as expected, though he dedicated himself to his craft and delivered some quality recordings. Birdsong, one of 11 children, was born in June 1934 in the town of Pulaski, deep in old, rural Tennessee. Music was everywhere at his family's household, and before his 21st year, Birdsong was one of the top acts at the Sugar Hill Club in Nashville. Ted Jarett, one of the biggest figures in Nashville's recording industry, noticed Birdsong and signed him to Excello as an underage musician in the early '50s, and before long Birdsong had also signed with Vee-Jay Records, Home of the Blues in Memphis (where he was produced by Willie Mitchell), and Ace Records in New Orleans. Though commercial success continued to elude him, Birdsong honed his rock 'n' roll and R&B craft through the 1960s, before turning to soul and funk in the late '60s and early '70s. His '70s backing band included such well-known names as Johnny Jones and Buford Majors, as compiled in this volume. Birdsong kept singing until his death in 1990, leaving behind a largely underappreciated legacy now preserved by En Avant la Zizique!
Erased Tapes first introduced Lubomyr Melnyk and his unique continuous music technique to a wider audience with Corollaries (ERATP 048CD/LP), an album produced by Peter Broderick in 2013. Now he returns with a 24-minute mini-album entitled Evertina. Featuring three newly-composed solo piano pieces, the long-form EP showcases another side to Lubomyr Melnyk -- his more gentle and melodic work. In 2012 Lubomyr's ears began to notice the remarkable tonal depth of upright pianos. To Lubomyr the upright piano sound is like a natural forest of microcosmic colors. "Evertina" and "Awaiting" were created on a middle-aged upright piano at a friend's home in New York in October 2012 -- just before Hurricane Sandy hit the city. Some children were listening to Lubomyr as he played in a hotel lobby in Cologne and "Butterfly" is the piece that he made for them. It was recorded on a battered grand piano somewhere in Switzerland in late 2013, with the lid closed down to soften the effect. "The piano for me has so many different faces, so many personalities and wonders, it is like life itself, ever-changing yet always holding to a permanence of beauty. Like butterflies that never fly in a straight line but always carry their loveliness with them in their multi-angled paths. I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view." Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Classically-trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world's fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken Melnyk many years to master. To witness one of his rare live performances is nothing short of a mind-opening experience.
Front & Follow, in collaboration with The Outer Church, presents a stunning EP from Pye Corner Audio: The Black Mist EP. The EP features an extended mix of the title track (originally featured on last year's The Outer Church compilation), new track "Bulk Erase" and a remix of "Black Mist" by London-based Old Apparatus, who turn in a distressed deconstruction in keeping with their rusted iron aesthetic. Alongside the self-released Black Mill Tapes research series, Pye Corner Audio has released music through Dekorder, Type, The Tapeworm, and Boomkat Editions, not to mention a full-length album, Sleep Games, on Ghost Box.
New 2014 repress. LP version. Originally released in 1979, 20 Jazz Funk Greats is Throbbing Gristle's pop-influenced masterwork. It's hard to believe the beautiful, conventionally-attractive Cosey Fanni Tutti on this album's front cover previously gave herself milk and blood enemas in front of a live audience. Additionally, the song "Hot On The Heels Of Love" is far removed from the dissonant nihilism of the previous TG albums. It's a sleek, minimal synth-pop song that foreshadows Tutti's later work as Chris & Cosey. Still, 20 Jazz Funk Greats is underpinned by a profound distance from accessibility. The breezy luminosity of "Persuasion" and "Six Six Sixties" is still marked with casual bits of distortion and absurdism. Preceding dark synth-pop (and everything else), TG's third album is far ahead of its time and still sounds as relevant as ever. The newly cut 180-gram vinyl editions include painstakingly restored cover artworks, using original source material from the Industrial Records visual archive. In addition, each of the vinyl releases includes an exclusive large format 8-page color booklet featuring an abundance of Throbbing Gristle archival material, including some previously-unpublished photos of the band.
LP version. Comes with download card that includes the entire Lunar Dust sessions as bonus tracks. Sleeved in a tip-on jacket, with a 4-page insert with never before seen photographs. "Sleeve notes by Aaron Milenski (co-author of the essential reference to The Acid Archives, and also author of the sleeve notes for the Anonymous reissue from last year). Hot on the heels of our ecstatically received reissue of Anonymous' classic album Inside the Shadow, Machu Picchu Ltd. is thrilled to announce the reissue of their elusive and legendary follow-up. After the 1976 release of Inside the Shadow, the group decided to change their name to J Rider (after the second cut on the Anonymous LP) and pursued a similar rich vein of impeccable songwriting, but this time adding more hard rock to the mix, resulting in a fantastic sounding album that sadly went unreleased at the time."
Italian new wave masterpiece from 1984. Extremely rare dark minimal synth LP, released in 1984 through No Name Records in Italy and now reissued by Mannequin Records for the 30th anniversary. One of the crown jewels of the minimal synth scene. On a cold autumn evening in Milan in 1981, Nino La Loggia met Giacomo Spazio for the first time. The two had the same passion for music: Kraftwerk, Joy Division, D.A.F. and the whole new scene of proto-electronic wave. Together they decided to start the musical project called 2 + 2 = 5, a tribute to Orwellian dystopia. Shortly after, Cha Cha Hagiwara joined the band. Already a keyboard player in Jeunesse d'Ivoire, she enriched the band's raw sound with sonority and resonance which we can now define as analog. After several gigs around Milan, Turin and Switzerland, in 1983, the trio entered the studio to record their first LP titled Into the Future, which is widely considered one of the most important Italian new wave albums. Expect classic cold wave and minimal electronic Italian sounds in the vein of Cocteau Twins, A Certain Ratio, Joy Division. The role of 2+2=5 was crucial in the development of the Italian alternative music scene. Giacomo Spazio in 1983 established with Ermanno Gomma Guarnieri UT distribution, the first Italian company that distributed counter-culture punk material (tapes, records and fanzines). Then, in 1986, he was among the founders of the first Italian no copyright & electronic counter-culture magazine called Decoder. In 1987 he founded the independent music magazine Vinile and the related independent label Vox Pop, that later became one of the most famous and important indie-rock Italian labels. Nino La Loggia on his side contributed to agitating the Italian underground music scene, as DJ and producer and as co-owner of one of the most important record shops in Milan called Ice Age, now sadly closed.
A Midsummer's Night Dream
LP version. Sommor presents the first ever legitimate reissue of Oberon's A Midsummer's Night Dream, one of the rarest psych-folk albums from the UK, originally released in 1971 in a private edition of 99 copies. Oberon consisted of seven young musicians who met while studying at Radley College in Oxford. Drawing upon such influences as Fairport Convention, The Pentangle, King Crimson, The Incredible String Band, and Sandy Denny, the group created a stunning piece of progressive folk. Fantastic sound and recording quality, killer flute, guitar, violin, haunting vocals, and medieval atmosphere. Now digitally remastered by band member and sound engineer Jeremy Birchall, the record sounds better than ever. Includes fold-out insert with extensive liner notes and rare pictures.
Slow Grind Fever Volume 3
Stag-O-Lee presents the third volume of Slow Grind Fever, compiled by Richie1250 and subtitled YET MORE... Adventures in the sleazy world of POPCORN NOIR... The decade between 1953 and 1963 offers an endless supply of danceable, up-tempo tunes. We're talking rhythm 'n' blues, and the phase in the early '60s when it morphed into soul (now called new breed), as well as popcorn -- Belgian music with a mid-tempo style and a high groove-factor. The Slow Grind Fever series highlights the slower side of this period, and takes its title and inspiration from an Australian club night billed as "Melbourne's only slow dance party." These events would include only the "slowest, spookiest, sweetest records" the DJs could find, with folks dancing "real slow in a haze of smoke and dim red light." Stag-O-Lee was convinced that this was a great concept for a compilation series, and have collaborated with those behind the Melbourne club night to present Slow Grind Fever, the third volume of which includes tracks by The Notes, The El Torros, Eddie Cooley & The Dimples, Isley Brothers With Ray Ellis & Orch., Donna Dee, Charlie Williams, Henry Thome, Bob Lee, Little Willie John, Elizabeth Waldo, Bobby Rebel, Jessie Hill, The Flamingos, and Jimmy Scott. The fourth volume in the series, compiled by DJ Diddy Wah, will follow in 2015, with the third and fourth volumes to be then presented as a single CD release.
"The Year In Underground Music: Our massive annual survey of the past 12 months in underground music, including the Top 50 Releases of the Year, the Top 50 Archive Releases of the Year, and a mass of genre charts, all voted for by our crack squad of contributors, who also give us their personal highs and lows of 2014. Also: Invisible Jukebox: Alasdair Roberts; Sleater-Kinney (The power of three); Wu-Tang Clan and Ghostface Killah (The saga continues); Divine Styler (The return of the psychedelically inclined rapper and producer); Global Ear: Bratislava."
Limited edition vinyl + download -- numbered. Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of '71's score was created before the film was shot. Yann likes to shoot with music already written -- an idea that resonates with the collaborative work of Sergio Leone and Ennio Morricone. With reference to Can's soundtrack work, in which only Irmin Schmidt would have seen the film, David would describe the emotion, tone and atmosphere of the scene with the other band members before recording and then editing to picture after. He says "It frees your imagination to try and capture a world that only you can see and feel but in total relation to the director's overall vision. Living in Belfast for most of my life was also a big inspiration." Musically influenced by John Carpenter's Assault from Precinct 13 and Escape from New York, John Paul Jones' "Four Minute Warning" and Tony Conrad's "The Pyre of Angus Was in Kathmandu," the music pulses with the tension and potential terror of war-torn Belfast streets in 1971.
3LP version. In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's The Opening of the Cerebral Gate. For the ﬁrst time, music fans will be able to experience the whole journey on vinyl. The 3LP package includes the vinyl version of the album as it was originally released plus a bonus 12" featuring "Look Within," "Unordinary Realities," and "Do You Want to Get Down (Vocal De Void)" -- for the ﬁrst time available on wax. Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, The Opening of the Cerebral Gate was conceived as the second part of the so-called Drexciyan Storms -- a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album Harnessed the Storm being the ﬁrst). This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reﬂected in Transllusion's ﬁrst album. Thematically, The Opening of the Cerebral Gate saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game. The album is chock full of hypercharged arpeggios and driving pulse patterns, Morse-like tones and chord stabs, huge, uber-booming tympanic kicks and grainy snares, (see openers "Transmission of Life" and "War of the Clones"). On the other end of the stylistic spectrum it features sweeter tones and moments of sheer, staggering beauty ("Dimensional Glide" or the CD's centerpieces "Look Within" and "Unordinary Realities"). In between, all kinds of alien electro funk shadings are to be found, every single track so well-executed, making it impossible to pick a highlight.
Underdog Records presents three albums from the great Montenegrin-French multi-instrumentalist and composer Janko Nilovic, reissued as three-CD set. Soul Impressions (1975), Pop Impressions (1972), and Super America (1976) each present a particular strain of Nilovic's compositional wizardry, which has encompassed the styles of jazz, funk, Latin, psychedelic, easy listening, classical, and pop over the course of his prolific career. These genre-blending arrangements have more recently become a rich source of samples for contemporary hip-hop artists, including Jay-Z, Dafuniks, and Guts. Here are the original tracks, three landmark albums from one of the greatest European studio talents of the '70s.
LP version. Includes download code. "New recordings of solo piano pieces by Ethiopian composer Girma Yifrashewa, the first release of Yifrashewa's music outside of Africa. Born in Addis Ababa in 1967, Girma Yifrashewa is a worthy new torchbearer of African pianism. His highly personalized approach to the piano likens him to Ethiopian composer Emahoy Tsege Mariam, while his use of Ethiopian pentatonic scale within the Western Art Music format places his compositions in conversation with more academically minded work. Traditionally Ethiopian in melody, cinematic in vision, and deep in beauty, his compositions occupy a lyrical middle ground between classical and jazz that is supremely listenable yet defies easy classification. Following the passing of Ethiopian composer Ashenafi Kebede in 1998, Girma moved beyond his conservatory repertoire and began his career as a composer, penning the composition 'The Shepherd With The Flute' - an homage to Kebede's most famous work, 'The Shepherd Flutist.' Since then, Yifrashewa has established himself a pre-eminent composer of Ethiopia, touring Africa and Europe extensively on cultural commissions. The emotional directness and unique quality of his work make it destined for wider popularity, still."
Congo's turbulent and exhilarating '70s: Nightclubs and dancefloors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence achieved a decade prior, grooved to the sounds of the country's classics. In fact, the whole continent was submerged in the Congolese rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo's sounds from Léopoldville across the continent, making these tunes the country's top export. This unexpected success nurtured a wealth of talented musicians. One of them was Verckys, born Georges Mateta Kiamuangana. At age 18, he became a member of the country's most dominant and influential band: Franco Luambo's OK Jazz. This relationship was short-lived, however, as Verckys, now a versatile and potent multi-instrumentalist, had plans of his own: the formation of Orcheste Vévé in 1968, with the aim of reinventing and modernizing the Congolese sound. Blending the ever-influential prowess of James Brown with Congolese merengue, rumba, and soukous, Verckys stripped away the conventional approach that OK Jazz had pioneered, allowing his saxophone-laced melodies to dominate. Verckys also began recording young urban artists with guitar-driven cavacha sounds and releasing their work on his label, Les Editions Vévé; Les Freres Soki, Bella Bella, Orchestre Kiam, and others shot to stardom overnight, making Verckys quite wealthy. But that wasn't enough for a man with a vision. He built a sprawling entertainment complex called Vévé Centre and oversaw the construction of the Congo's most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Lay Rochereau. Orchestre Vévé's popularity poured across borders and in 1974 the band traveled to Kenya for a two-month tour. James Brown, upon seeing Verckys perform that year, was moved to dub him "Mister Dynamite." "Bassala Hot," "Cheka Sana," and "Talali Talala" were some of the tracks recorded in Nairobi for the Kenyan market, songs which are now available to the ears of the world for the very first time. Analog Africa now has the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities, compiled over the course of many years in a land of hardship. Analog Africa welcomes you to the grooviest era of the Congo with a CD accompanied by in-depth liner notes and vintage photographs.
Angry Love Productions is proud to present Snakes, Psychic TV's first full-length LP since 2009's Alien Brain vs. The Skinwalkers. A psychedelic journey from start to finish, Snakes has a wide variety of material that musically touches on various parts of Psychic TV's 35-year history, yet feels extremely cohesive as an album. Singer Genesis Breyer P-Orridge has and will continue to be a press darling for h/er reputation as a "cultural-engineer" and will be promoting the album full-tilt while Psychic TV as a band have and will continue to promote it on the road. This LP will be a limited run of 1,000 copies bearing stunning five-color artwork and will have the trademark "random recycled vinyl" color process, meaning each copy of the vinyl will be completely unique in color.
Gatefold LP version. Golf Channel Recordings presents II, the first full-length recording from Lisbon, Portugal-based Gala Drop in six years, and their first release since 2012's Broda, an acclaim split with Ben Chasny of former tour-mates Six Organs of Admittance. For this release, Gala Drop joined forces with Detroit ex-pat Jerrald "Jerry the Cat" James to pull together the variant strands of the Motor City's aural lineage with the more off-the-cuff Balearic grooves of their native Lisbon in a hypnotic melting pot of sound. From percussion work with Parliament-Funkadelic, to live performances with John Lee Hooker, to collaborations with Derrick May, Theo Parrish, and Moodymann, James' involvement in the great rise of black music through the mid-to-late 20th century cannot be understated. It's as a vocalist that he makes his mark on II, with his dub-smeared murmurs and galvanizing cries pushing Gala Drop even further away from the introspective delay-pedal drone that they started out with nearly a decade previously. Seductive 808s and samplers sit alongside Afonso Simões' drumming, allowing the lighter tissue of the track, shimmering synths and soulful vocals, to weave and wind their way around the foundations -- never more apparent than on the pirouetting Mediterranean disco of the final track, "Samba da Maconha." The track closes an album that shows definite Jamaican reggae and dub influences, while at the same time drawing deeply from the progressive Afrofuturism aesthetic that's come to typify the Lisbon club scene of the past few years. That scene has certainly had an influence on Gala Drop's development, as Simões says: "I was going out to a techno club at the weekend but going to see a garage rock show or some free jazz band in the week. The post-millennium Lisbon has been very fertile musically speaking." It's that eclecticism that's allowed the group freedom to be similarly unhemmed. Their music takes on the bustling heat of the streets of Lisbon but, like the city itself, remains tied to the open seas and panoramic scenery beyond. A song like "Sun Gun" is a perfect example, built around intricate basslines and restless drumming that eventually stretches out into the distance as the track races along, with Gala Drop skipping through their alluringly idiosyncratic world.
Else Marie Pade, born in 1924 in Denmark, is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of electronic music and musique concrète. Pade is Denmark's first lady of electronic music and her piece "Syv Cirkler (Seven Circles)" became the first electronic piece performed on Danish radio. Pade's fascination with sound began in early childhood. Isolated in her bed for long periods due to illness, she began listening and intensively observing the sounds around her. As a teenager being imprisoned for spying on Nazi compounds in Arhus, she had a similar experience of isolation and sharpening her awareness of sound. Once released from prison, she became a piano student at the Royal Danish Conservatory of Music in Copenhagen. When she was introduced to Pierre Schaeffer in 1952, she instead chose to pursue the nuances of her inner sound-world. Shortly after beginning her studies with Schaeffer, she had her first electronic composition premiered in 1958. Else Marie Pade's Electronic Works 1958-1995 is a double CD set of Pade's most important compositions which was restored and mastered at Dubplates & Mastering in 2014 in Berlin under the watchful ears of curator Jacob Kirkegaard. "The sounds outside became concrète music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music." --Else Marie Pade
Cybernetic Serendipity Music
Reissue of the Institute of Contemporary Art's groundbreaking compilation Cybernetic Serendipity Music, originally released in 1968 to coincide with their exhibition "Cybernetic Serendipity," which proved to be a landmark in the history of audio/visual art, and the first exhibition of its kind in the UK devoted to the relationship between music and early computers. Both unique and extraordinarily influential, Cybernetic Serendipity Music captured a nascent scene on the cusp of a synth-led electronic revolution and was the only compilation of its kind to bring together the musicians, composers and inventors pushing the boundaries of early computer music on one record, a good six years before Kraftwerk's Autobahn changed modern music forever. It documented a frontier spirit where pre-eminent composers John Cage and Iannis Xenakis rubbed shoulders with the likes of Peter Zinovieff, the founder of EMS and inventor of the game-changing VCS3 synthesizer, with music that was either composed by computers or, in Zinovieff's case, even performed by them. With only a handful of copies pressed and exclusively available from the ICA at the original exhibition, Cybernetic Serendipity Music has long held Holy Grail status among collectors and enthusiasts of early electronics, with the original record, on the rare occasions it becomes available, often changing hands for upwards of £150. Now to mark their forthcoming archival exhibition of "Cybernetic Serendipity" in the Institute's Fox Reading Room, The Vinyl Factory are teaming up with the ICA to reissue Cybernetic Serendipity Music on vinyl for the first time since 1968, faithfully reproducing the artwork -- taken from one of Peter Zinovieff's visual scores -- housed in a Garrod & Lofthouse-style sleeve in an edition of 500 copies.
The Man Who Died in His Boat LP
Slow Grind Fever Volume 3 LP
Father of Origin 2LP BOX/CD
Re-Edits & More Vol. 4 12"
Les Ambassadeurs du Motel de Bamako 2CD
Bread & Roses Festival, 4th September 1978 2LP
Soul Impressions/Pop Impressions/Super America 3CD
Live at the Main Point - September 7th 1975 3CD
Dirty French Psychedelics LP
Love Never Felt So Good/All About That Bass 7"
Four Organs/Phase Patterns/Pendulum Music LP
Live at the Jazz Workshop, Boston September 4th 1973 CD
Funky Bijou Breaks Vol. 3 LP
An Introduction to Larry Birdsong 10"
Never Let You Go/Glowin' Nights 12"
Throbbing Gristle Bring You... 20 Jazz Funk Greats LP
'71 (Original Soundtrack) LP
A Midsummer's Night Dream LP