Tapesongs (1977) is the second of two crucial Joan La Barbara reissues on Arc Light Editions, following Voice Is The Original Instrument (1976) (ALE 005LP, 2016). Joan La Barbara is a composer, performer, sound artist and actor, renowned for her unique vocabulary of experimental and extended vocal techniques, which have influenced generations of composers and singers. This reissue is presented in full collaboration with La Barbara. Tapesongs makes use of early electronics, and multi-tracked tape techniques to manipulate La Barbara's signature extended vocal techniques. It includes two essential pieces: John Cage's Solo For Voice 45 and a burning take-down of Cathy Berberian in "Cathing". In 1977, La Barbara was living in NYC, playing concerts internationally and performing regularly with John Cage, who she described as a mentor. "I began working with John Cage in 1976 and we had done several performances of his 'Solo for Voice 45' from Song Books in concert," says Joan. "Cage determined the 13-minute version for this version, overlaying all 18-pages of the score so that one hears the entire work in layers. Hearing it again after all these years is wonderful and brings back many memories." "Cathing" uses a recording of a radio interview Cathy Berberian did during the intermission of one of La Barbara's concerts at the Holland Festival: "She basically trashed those of us doing extended vocal techniques," she says. "She used the interview for her own self-promotion rather than taking on the mantle of the 'mother' of vocal explorations. Rather tragic, I thought. So I created a work exploring extended vocal techniques and manipulating her spoken voice." "Thunder" is for six tympani and voice, using electronic devices (the same as used in "Vocal Extensions" from Voice Is The Original Instrument), and explores patterns through instruments and real-time composition with two jazz improvising musicians. The original artwork is an incredible shot of Joan buried to her neck in reel -to-reel tape. Remastered from original tapes by Rashad Becker. Kraftliner outer sleeve & art paper inner sleeve.
Phantom Of Liberty (Blue Vinyl)
Limited edition blue vinyl. LP version. CD included. Camera presents their third album, Phantom of Liberty. The beat hammers like the pulse of a pair of lovers on the run from a gang of racist thugs - the sound is manic, but from it speaks a seemingly insurmountable inner strength. This arch of tension is home to Camera. The Berlin band is rightly compared with icons of seventies Krautrock such as Neu! and La Düsseldorf, with a tight and driving sound, yet they are still somehow unpredictable. Hardly any other band understands how to mutate tiny musical nuances into volcanic eruptions like they do. Camera is a motor running at full throttle, where an explosion could occur at any second. Once you have embarked on this crazy journey, you will be fascinated by the alternating current somewhere between a flash flood and roller coaster running off the rails. The cascades of sound convey a blurry image of a boundless desire to revolt, with each blink of an eye threatening to end in purgatory, yet it is damned near indestructible. Michael Drummer is the ethereal Indian paleface who pummels his drums at every show as if we're in the midst of a 17th Century incarnational ritual. In Steffen Kahles, who hails from the world of film music, he has found the musical partner he needed to enrich the tribal kraut beat with diverse motifs and bold sounds. On Phantom of Liberty, there is clever use of playful sounds such as synths that beam the listener back into the Commodore 64 computer games of 1984; or slightly cranky keyboard pads, as if created by deliberately manipulating the speed of an old tape machine. With Phantom of Liberty, Camera show that they have become more mature and complex without losing any of their tremendous energy.
Dug Out present Ras Michael's Promised Land Sounds, originally released in 1980. This is the untrammeled counterpart to Dadawah, six years later in 1980, fresh from the Black Ark: free, rawly spiritual trance-music; a full-force nyabinghi freak-out. The drummers are headlong and rollicking, thunderous and explosive. Even more so than Dadawah, the mix is ecstatically echoey - giddily dub-wise without let-up. Ras Michael himself sings from the mountain-top, like he just don't care - at the top of his lungs, in voices, screeching like a bird - with the delirious abandonment otherwise owned in reggae by Lee Perry. Amongst the uncredited performances swirled into proceedings, there are squiggles of flute straight from the Upsetters song-book, the minor-key organ stabs and abstraction of electric space-jazz and sax-playing more attuned to the Headhunters than the Blazing Horns (1977) ("I Ya I" in particular is a stunning fifteen minutes.) This is the real thing, music without affectation - Pure reggae. Sun Ra fans should love it; anyone with ears to hear. Prepared and manufactured at Abbey Road, D&M and Pallas. Beautifully presented in rigid, old-school, tip-on sleeves, with matte-coated fronts and untreated-paper backs; 180 gram vinyl. These sounds are sounds of inspiration and love and culture to the universal benefit of mankind. So therefore meditate and stop hate. Very hotly recommended.
"Thrilling second album by the duo made up of Greg (Gary War) Dalton and Rob (Sunburned Hand of the Man) Thomas. The first album was recorded and pressed a while ago but has yet to be actually released. Perhaps because these guys are operating under Nigel Senada's Theory of Obscurity (see The Residents' Not Available). Or perhaps not. Only time will tell. Regardless, this sophomore effort is nothing but a goddamn corker. Knowing something about the work ethic of this pair, I had suspected this LP would be filled to the bong-lip with loosely unstructured jams and zingers. And while those elements are indeed part of the parcel, they are mere details in a large, richly varied and luminous whole. Dalton brings his multi-various musical New Zealand ex-pat weirdnesses to the party, and Thomas draws deeply on his intense Massachusetts record collector powers to create tunes and bridges and sighs that make sonic images skip across the surface of your brain like the smoothest stone on the planet. The two conjure up all the sounds on their lonesome, apart from some drum bits by New Zealand form-manster, Kraus, and some background vocals by fellow kiwi Clementine of Purple Pilgrims fame. You can hear twinges of all kinds of heavy cult tunage smeared into the corners -- a bit of Hoelderlin here, a smudge of Relatively Clean Rivers there -- but what it most recalls are the highest echelon exploit-o drug-powered records like LSD Underground 12 or The Happening by Fire & Ice Ltd. As a piece of music it's as thoroughly toasted as either of those, managing to be higher key and low-key at same time. Pretty fuggin' brilliant. Let's hope the other album gets cut loose soon!" -- Byron Coley, 2016. Edition of 300.
LP version. Pharaway Sounds present a reissue of Pepe Sanchez Y Su Rock Band's Regresión, originally released in 1976. Pepe Sánchez is a real legend when talking about drumming in Spain. From his beginnings in the '60s jamming with Pedro Iturralde, Tete Montoliu and Vlady Bas at the influential Whisky Jazz Club in Madrid, to recording in Miami with Diana Ross or Barbra Streisand; from working under the wings of Rafael Trabucchelli, Waldo de los Ríos, Augusto Algueró and Mancini to playing live with Barry White - Not forgetting his incursions in progressive rock with Araxes or doing session work for seminal Spanish albums like Gipsy Rock (1974) by Las Grecas among others. Pepe and his group of friends (Manuel Gas, Juan Carlos Calderón, Pepe Ébano, Tito Duarte, Juan Cano) were the most requested Spanish session musicians of the time, appearing in countless recordings. In the mid-70s, he was approached by the Marfer label: the idea was to create an instrumental album based on Flamenco music and Spanish folklore but with a modern approach, adding electric guitars, electric bass, drums. Pepe recruited some of his friends, all of them top session musicians with a jazz/pop background, and the result was Regresión, his first solo album. It's an incredible fusion of jazz, funk, rock, flamenco and psychedelic/progressive sounds highlighted by the powerful drumming of Pepe, the wicked fuzz-wah guitar of Carlos Villa (Vainica Doble, Las Grecas), the sax and flute of jazz giant Pedro Iturralde and Manolo Morales (Jayme Marques, Bebu Silvetti), the piano of Eddy Guerin (Tete Montoliu, Santisteban, Jayme Marques, Manuel Gas), the trumpet of Juan Cano (Vlady Bass, Juan Carlos Calderón) and José Luis Medrano (Dolores, Márquez), the percussion of Pepe Ébano (Elkin & Nelson, Manuel Gas). Includes the monster rare groove /funk track "Sentimiento". Regresión is a Spanish jazz-funk/prog-psych holy grail featuring the crème de la crème of Spain's session musicians of the time. Original artwork in gatefold sleeve. Master tape sound. Liner notes by Spanish jazz/funk expert Javi Bayo. Includes two bonus tracks taken from his rare "cosmic disco" non-LP 45 from 1980. Featured in the 7001 Record Collector Dream book by Hans Pokora.
Berlin Atonal Recordings present live cuts from synthesizer genius Max Loderbauer (NSI, Sun Electric, Vilod, Moritz von Oswald Trio) and techno experimentalist Jacek Sienkiewicz (Recognition) from the opening night of the Berlin Atonal Festival in 2015. Blending harmonic drones and almost unrecognizably distended vocal samples with adroitly weighted melodic passages this collaboration was a masterclass in expertly crafted ambient music from two of the genres' leading exponents. Two passages from this set have been mastered and cut to vinyl in a special 12" with artwork by Pedro Maia based on his visuals for the show.
"Eight song dub LP in hand silkscreened disco jacket. First time reissue of this rare and obscure Germain produced dub LP from 1983. This LP was long a source of confusion for collectors. Only ever released in small quantity on a Germain label with no titles or credits, this LP came in either a generic disco jacket or in the jacket for the totally unrelated and (then) aborted Jah Life In Dub LP. The eight tracks on this LP include some prime Germain roots rhythms of the day, including a very sound system/dubplate style choice of three different cuts of the 'Dirty Harry' rhythm! We're happy to make this excellent LP now available to all, in a great looking hand silkscreened disco jacket, adorned with its fitting new title of Pre-Release Dub!"
Boomkat Editions presents DJ Marfox's febrile retrospective Revolução 2005 - 2008, on vinyl for the first time. Originally released on CD in 2015. Both a necessary document of Marlon Silva's early years and a crucial survey of Angolan kuduro's formative phase and mutation in the clubs of Lisbon, the set collects nine cuts of contagious Afro-Portuguese dance music which maps strong parallels to the UK's own transition and flux between grime and UKF, whilst also demonstrating why Marfox is now regarded as the main ambassador and catalyst for Lisbon's colorfully influential and world-renowned style. Taking his name from Nintendo's Starfox character (and establishing a trend for the -fox suffix so prevalent in kuduro and tarraxhina) DJ Marfox was instrumental in shaping one of today's most vital dance scenes with a number of productions from his 17-year-old self cropping up on ear-opening compilations such as the foundational DJs Do Guetto Vol.1 in 2006, and later on the Bazzerk, African Digital Dance Music (2011) set which turned a lot of DJs and dancers onto this sound. He's subsequently released the first record on kuduro's best alibi, Príncipe, and followed Visionist and DJ Rashad to release on J-Cush's Lit City Trax, and has also appeared alongside his Lisbon crew on the Cargaa compilations for Warp Records. However, Revolução 2005 - 2008 returns to his wildest early years; from the hyper disco-techno drive of "Funk em Kuduro" or the galloping darkwave-riding horsepower of "Un Bes Bai" from 2006; thru the killer jump-up down-stroke of "Sem Fronteiras" or the inimitable, body-carving syncopation of "Aiué Remix" circa 2007-08, and his hollering "A Própria" with DJ Nervoso - which could almost be some ravenous Chicago house oddity - all of which illustrate the sound of a young producer firmly finding his feet and blazing a trail where others such as Arca, M.E.S.H. or Nidia Minaj would soon follow. Most of all though; it's a proper dance record for summer and beyond, either as DJ tools or the soundtrack to backyard raves, BBQs and beach parties. Two-sided 12" x 12" color insert with liner notes in English and Portuguese. Cut at D&M, Berlin.
LP version. Bureau B reissue Rolf Trostel's Inselmusik (1981). Rolf Trostel is a protagonist of the so-called Berliner Schule, or Berlin School (Tangerine Dream, Klaus Schulze). On his first album Inselmusik, he explores the sonic possibilities of the recently introduced PPG wavetable synthesizer. The music is based on live performances from the late 1970s by Trostel and Krautrock guitarist Günter Schickert. Formally speaking, Inselmusik is a demonstration of the PPG Wave Computer 360, a synthesizer. Rolf Trostel had worked briefly as a distributor for the manufacturer, affording him ample opportunity to play the instrument for presentation purposes. In terms of content, Inselmusik is minimalist, meditative and contemplative music, enriched with remarkable choral sounds, flutes and effects. Overlapping sequencer lines and dominant expanses with feel-good harmonies are carried along on calm, soothing beats. Trostel described his music at the time as "Klangfarbenkompositionen" - tonal, textural compositions. Wavetable synthesis is commonplace now - in considerably advanced form - and integrated in many soundcards or digital synthesizers. The version which featured in the PPG Wave Computer 360 was purist, to say the least. The clanging tones it created could be harsh or brittle at times. This highly distinctive sound, particularly in combination with the charming Roland CR-78 CompuRhythm drum machine amounted to a real surprise package back then. The latter's mighty kick has stood the test of time, sounding no less powerful today. Our ears have long since grown used to digital sounds and patterns crafted with wavetable technology. But the filterless, purist methodology deployed here serves to emphasize the work's unique sonic qualities. Inselmusik thus allows us to grasp just how astonishing these often raucous sounds must have seemed when first unleashed. Trostel's early releases have legitimately assumed the status of valuable contemporary documents, rarities amongst the few albums which illustrate how the sonic pioneer of wavetable synthesis played such a fundamental role in sonic development; Rolf Trostel recorded Inselmusik exclusively with this very synthesizer, a corresponding sequencer and CR-78 drum computer in his own home studio. The original pressing of 1000 LPs sold out in no time, encouraging Trostel to continue.
Belgium's Sky H1 presents Motion. Drawing from a background of widely-varying musical tastes from ambient to grime, her work is an amalgamation of emotive compositions of orchestral Elysian synths, often displaced with sparse percussive elements. Motion is a highly personal endeavor: "It signifies leaving behind a period in my life and stepping into something new." Moving through bleak soundscapes layering vaporous choral synths, ethereal vocals and glassy, lucid tones crafted in complex structures, the record bears moments of melancholy as well as joy. Mastered by Jeremy Cox. Cut to vinyl by Matt Colton. Album of the month at Mixmag.
"In the early years of Fela Kuti's career, well before he would define the genre of Afro-beat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi 'Easy' Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide Afro-beat force that made Kuti an icon during the '70s and '80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname 'The Blues', but Okeji preferred the name 'Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous Afro-beat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience."
2016 repress. "Despite his untimely death, the man managed to squeeze in a lot in his 27 short years on this earth, enough to earn him the title of 'King of the Delta Blues'. Pretty impressive, given the competition! Johnson's style has influenced everyone from Muddy Waters to Eric Clapton and he is widely considered to be one of the greatest guitar players to have ever lived! A widely reported legend of Johnson selling his soul to the Devil in order to gain prowess on the guitar seems likely given the talent the man possessed. This triple LP box set chronicles his short but legendary career, featuring everything Johnson ever recorded, including the many songs that made him famous and have long since become blues standards. Absolutely essential in any collection!" Includes poster and 8-page, large-format book with lyrics.
Farbror Resande Mac from Stockholm, Sweden create masterfully crafted, slow paced (pacific) coastal sounds on Atalanta. Steady bass pulses, mechanical percussion, punctual punches make waves from underwater to hyperspace - seductively deep. Horisontal Mambo is a new sub-label from Full Pupp.
Jeanne Dielman present Across The Rocky Mountain, a magical collection of Kentucky's own Roscoe Holcomb. Roscoe Holcomb is one of the most legendary figures of Appalachian music and a huge influence on the '60s folk scene. Playing banjo, guitar, and singing in that beautiful high lonesome sound, this compilation spans his recordings from the late '50s and early '60s, mostly done in the "field" with a single microphone. A coal miner for most of his life, Roscoe knew the world he sang of all too well, his authenticity is unassailable. Though he found some success in the '60s thanks to the Greenwich Village scene, Holcomb stayed a laborer in Kentucky and passed away in 1981 at the age of 68, suffering for years from asthma and emphysema, the results of his years in the coal mines. Essential Americana.
LP version. Mental Experience presents the first ever reissue of Sexphonie (1975) by Tyll. Highly inventive kraut-psych album (heavy on the "psych") related to Eulenspygel. Sexphonie offers a mix of acid-rock, hard-psych, polit-rock and progressive/ folky sounds with some eastern influences. Features great studio production and outstanding guitar playing courtesy of Teflon Fonfara. Tyll was formed when Teflon was approached by Kerston Records with the intention of releasing a krautrock album. Teflon's previous group was not active at that moment, so he assembled a new studio band featuring members and friends of Eulenspygel. Shrouded in mystery until now, Tyll's Sexphonie is a krautrock curiosity that almost never happened, and it was all created within a matter of weeks from inception of the band through to the finished LP. The story is similar to that of the legendary Mammut, with an ad-hoc band brought together and given total freedom to do whatever they wanted. Tyll can be seen as the illegitimate step-sister to Eulenspygel, and there was much controversy and even legal action involved and some rivalry between the two bands, especially as Tyll had poached Eulenspygel drummer Günter Klinger. Yet, whereas Eulenspygel had pretty much now lost the plot by 1973, Tyll's sole LP was one of those surprisingly creative gems of the mid 1970s that, to the few that knew it, was a welcome breath of fresh air. "Truly wonderful and extremely little known krautrock released on the Kerston label with something of a widely variable and fascinating approach." - Mutant Sounds RIYL: Floh De Cologne, Franz K, Alcatraz Includes insert with liner notes by Alan Freeman (The Crack In The Cosmic Egg) plus reproduction of the rare original booklet /comic.
2016 repress on black vinyl. "This special edition 2LP package comes housed in an all new exclusive jacket featuring Doom's infamous metal mask icon embossed out of a metallic silver foil. An absolute must have for the Doom completist. The long awaited reissue of Doom's first solo gem, Operation: Doomsday. Remastered from the original Fondle 'Em 1999 issue. Side A is listed as 'Side Zero'. Side B is 'Side One'. And so forth. Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)'s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol' Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable."
LP version. Out-Sider Records present the first ever legit reissue of Crystalaugur's Terranaut, originally released in 1975. This reissue is done with the band's involvement. Crystalaugur were formed by four young ex-pats attending school in Singapore in the early 70s: Howard Kukla, Kim Bengs, Bryan Hall and Guy Rittger. For most of them this was their first serious musical experience. Terranaut was recorded on a 4-track machine and subsequently released by the band in a private edition of 200 copies on their own Warped Records imprint. Terranaut is ultimate underground, lo-fi, psychedelic rock. Loose feel, raw sound, spacey prog-funk touches, sound effects and some proto-DIY, pre-punk vibes which bring to mind Velvet Underground or avant-garage '70s Cleveland bands like Pere Ubu but also hard-rockers ala Pink Fairies or Stray. Bootlegged many times over the years, this is the first ever legit reissue of this "lost-in-time" psychedelic artefact. Includes insert with rare photos and detailed liner notes by Jeremy Cargill (Got Kinda Lost, Ugly Things), explaining the fascinating story behind Crystalaugur and debunking many myths and false rumors about the band and their only album. Cargill says, "Terranaut is a rollicking, rumbling and lightly ramshackle bomb of cosmic teenage hard rock informed by an infatuation with the early rumblings of progressive rock (given a proto-punk edge by the discontent of the group's constituents)." Featured in Hans Pokora's Record Collector Dreams book with the maximum scale rarity.
"A bonafide dancefloor invitation, this classic cut by Chain Reaction was originally released in 1980 on the P&P affiliate label, Sound Of New York. A project between keyboardist Dwight Brewster (of The Imperials) and percussionist Harold Sargent (of Wood, Brass & Steel fame) Dance Freak provides one finest moments in the entire catalog. A funky disco track with all the elements of a party anthem, it's no surprise it's been a favorite of veteran Deejays like Kenny Dope and Danny Krivit. There are many reasons why this track is a must-have for disco DJs. Outstanding percussions; check. Funky guitar & bass lines; check. Catchy chorus; check. Brass accents; very welcomed. Using a synth as a percussive instrument; incredible and most likely lifted from the Patrick Adams Handbook 'How To Make A Hit Record'. There really isn't much more we can say here. We 'just wanna dance with you...' "
Classic '80s dark-wave 12" reissued by Spittle. Neon were one of the most active bands in the '80s Italian new-wave scene. The band was born first as a duo at the end of the '70s, a part of Florence's underground culture, they soon stood out for their Kraftwerk inspired synth sound, which made their style a unique '80s specimen, together with a new-romantic and post-punk thought similar to bands like Joy Division, Ultravox and Human League. Edition of 500.
180-gram LP version. Genuine reissue of D.R. Hooker's The Truth (1972) from the original audio sources; new analog transfer with improved mastering. "It's a miracle any copies of this privately pressed album survived -- but be thankful it did, for here is an individual vision. Some people worry about when we'll run out of oil. A rather smaller proportion of us worry about when we'll run out of discoverable, deep-end thrills like this. There is just no way in the world items like Donald Hooker's 40-year-old privately pressed LP should even exist as a thing -- it more than likely only ran to about 99 copies in its original format, so how the hell did even one of those survive to create these new digital and analogue versions decades later? Connecticut-based Hooker -- a tall, slim hippy with a history of substance abuse -- was much given to wearing the sort of austere robe he sports on the sleeve, a fairly outré move even then. In early 1972 he hired a gang of local scene musicians to flesh out his wonderful songs and after a few brief rehearsals the band began recording. As soon as they were done they split -- some never even heard the finished album, and what a treat they missed. Hooker's arrangements are truly beautiful; a simple, swinging pop song like Weather Girl exists somewhere between the Doors and Curtis Mayfield, whereas The Bible ('If they're knocking the Bible, be sure they are bent/ Just see and you'll understand the book is heaven sent') has the propulsive drive of a pained George Harrison ballad crushed up against some of Neil Young's freeform, string-banging joy. Then there's The Sea, with its rolling religious allegories and the remarkable Free which marries a growling hard rock throb to a vampirically groovy synth line. Hooker's masterpiece is Forge Your Own Chains, which is part conga-led, lounge-funk soul and part, questing psychedelic dream. To think this entirely individual worldview would have once languished, unloved, in a series of under-the-racks cutout bins. And how much more magic like this is there out there?" --Rob Fitzpatrick, "The 101 strangest records on Spotify: DR Hooker -- The Truth," The Guardian, April 24, 2013
Randy's Studio 17 Sessions 1969-1976
LP version. Voice Of Jamaica presents a compilation titled Randy's Studio 17 Sessions 1969-1976. In 1959, Vincent Chin opened a small record shop on the corner of East St. and Tower St, in downtown Kingston named after Randy's Records in Gallatin, Tennessee, an emporium where many of the Jamaican sound systems used to send their mail order records. Two years later, the shop moved to more spacious premises at 17 North Parade in the heart of Kingston's commercial district, where Randy's Record Mart rapidly established itself as Jamaica's leading retail and wholesale outlets. Vincent also produced records. Jamaica declared its independence in the summer of 1962 to the sound of Lord Creator's "Independent Jamaica" produced by Vincent and released on his Randy's Creative Calypso label. This is an exemplary selection of Bunny Striker Lee's recordings at Randy's Studio 17, compiled for this release. While some were recorded entirely, others are the products of Bunny's legendary mix and match approach with rhythm tracks laid at Randy's and the vocals done elsewhere. Features: Delroy Wilson, Pat Kelly, Bob Marley, Cornell Campbell, John Holt, Slim Smith, Owen Grey, Eric "Monty" Morris, Max Romeo, Johnny Clarke, Ronnie Davis, Doreen Schaeffer and Freddie McGregor. CD version includes two bonus tracks from The Clarendonians and Cornell Campbell.
Jeanne Dielman present Tribes Of New York, a collection compiling recordings from the early '60s by The Ornette Coleman Quartet. The Ornette Coleman Quartet is one of the most important groups in the history of jazz, a truly groundbreaking group that featured the brilliant Don Cherry, Charlie Haden and Ed Blackwell. In the early '60s this quarter of young guns recorded some of the earliest examples of "free jazz" and were on the vanguard of a new jazz that would shape everything from the spiritual jazz of Strata East and the downtown "skronk" of John Zorn. These recordings were not released on LP at the time. Fantastic collection of one of the greatest jazz quartets in history.
2x12" version. Shackleton and Ernersto Tomasini present Devotional Songs. Devotional Songs is Shackleton's most expansive, ecstatic and hallucinatory music to date. Four long-form pieces developing the free-flowing compositional aesthetic of his recent Deliverance series (2014-2015) and Powerplant performances: fiery rhythmic-melodic turbulence channeling Congotronics way to the east - with an aura of restrained mania reminiscent of the feral pomp and gallows humor of Coil's "moon-musick" phase - all earthed by dub-wise bass. The pairing with Ernesto Tomasini - the cult singer, performer and artist whose history spans experimental theatre, cabaret and collaborations with Othon, Marc Almond, Sleazy, Julia Kent and David Tibet among many others - is a match made in heaven. With his four-octave voice swooping from deep growl to piercing falsetto, Tomasini's presence both heightens the taste for the theatrical that's always been integral to Shackleton's music, and makes explicit the latter's kinship to the occult energies of the UK's post-industrial underground. As the record's title suggests, these are shadowy songs rich with allusions to bodily ritual and psychic exploration, with Tomasini's lyrics framed by luminous whirls of hand-struck drums and synthetic gamelan, bells and tumbling organ melodies. "You Are The One" escalates from delicate choral chant to full-bore psychedelic organ freak-out. "Rinse Out All Contaminants" is a slow incantation, to purge all negative thoughts. The melodies of "Father You Have Left Me" are smudged like early Steve Reich, then burned out by snarling subs; and the magnificent "Twelve Shared Addictions" balances elliptical melodies like spinning plates, gradually unfurling into a break-neck storm of voice and hammered keys. A remarkable collaboration that hints towards new emerging futures for Shackleton, a pioneer in electronic sound and rhythm.
LP version. "The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 30 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria's Vienna State Academy, he emerged in the late '50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the '60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, the Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late '60s, his interest in non-western music developed, and his '70s recordings, incorporated elements of Eastern and 'Third World' music, fusing them with jazz structures. His first solo recording, Sound Awareness was released on the Strata East label in 1972. By this time, Ah had recorded extensively with the Sun Ra Arkestra and his solo work continued the boundary-pushing approaches he explored with that ensemble. Consisting of two side-length tracks, 'Beyond Yourself (The Midnight Confession)', and 'Love Piece', the album features notable appearances by percussionist Max Roach and the M'Boom Re:percussion Ensemble, as well as a 90-piece vocal choir. The 22-minute 'Beyond Yourself' is billed as 'a sound journey' in seven parts, outlining a man's struggle to either give up drugs or become a monk."
Modern Journal of Popular Savagery
Porest's fourth long-player, Modern Journal of Popular Savagery is a damning collection of parallel realities told in song and sound. Following 2006's masterful Tourrorists, MJoPS pits post-globalized hate pop, cabalistic text-to-speech drama and violent tape music against soapbox anthems and swirling barbed-wire psychedelia -- sometimes within the same track. The result: a terrifying and ridiculous audio shakedown that both avoids and completely indulges the inherent trappings of art and politics. Fuzzed out guitars and keyboards, epic modulated grooves, "samples" and far-out fucking field recordings index the colonization of our consciousness. You're already dead -- and none of your intellectual friends can save you. Guests include Richard Bishop (Sun City Girls), Peter Conheim (Negativland), and Jake Rodriguez (Bran?Pos). Recorded between California, Syria, Vietnam and points in between.
Across decades, Porest (aka Mark Gergis) has issued a trail of confounding agitprop sound art, tilted pop, diabolical radio dramas and carefully rearranged realities on the Abduction, Seeland and Resipiscent labels. Porest's blatant embezzlement of human syntax and cultural misunderstanding broadcasts vital mixed messages. Collaborations have included: Aavikko (Finland), Sun City Girls (USA), and Negativland (USA) among others. Gergis was a co-founder of the long-running experimental Bay Area music and performance collective Mono Pause -- as well as its offshoot Neung Phak, performing inspired renditions of southeast Asian musics. Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington -- and more recently, with his own record label -- Sham Palace, Gergis has shared decades of research and scores of archived international music, film footage and sound recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere.
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