LP version. After the Rain is the latest offering from Mark Van Hoen and Louis Sherman's Locust project. Following up the 2013 release You'll Be Safe Together (EMEGO 162CD/LP), this new album sees Locust stepping away from the abstracted forms of previous works, presenting a more melodic/harmonic proposition. Bathed in a warm nostalgic memory, After the Rain draws on Mark's formative influences, primarily '70s electronic music. With greater input by Louis Sherman (who, although being born when Mark was originally taking in this music, shares an equal enthusiasm for this particular period of European melancholic machine music). Unlike previous Locust and Mark Van Hoen releases which relied on programming and sequencing, much of this new record was played live, creating a space where innovation is secondary to the suggestive power of time, space, mood and melody. Rich in melancholia and a yearning for a world once suggested, After the Rain explores a crack in the historical framework, one embracing female identity and astute observations of melodic atmosphere. After the Rain is a melodic electronic mood record which presents itself as a triumph of historical revisionism. Louis Sherman (keyboard synthesizers, samplers), Mark Van Hoen (pianos, modular synthesizers & organ), Celeste Griffin, Candace Miller (vocals), Julie Manescau (spoken voice).
Gatefold double LP version. Function and Vatican Shadow have combined forces on Games Have Rules for Hospital Productions, simultaneously stripping back each producer's more prevalent production elements -- the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow -- to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric. As befitting what began life as an "emotional acid" album best suited for an after-hours home-listening experience, Games Have Rules was created in the early hours at New York's Hospital Productions and Berlin's Inanimate Objects studios, helping imbue the record with a sense of night turning into day, and the shifting contrasts of dark and light the music evokes. Although not created as the result of improvisation, the album retains an effortless, free-flowing structure, while simultaneously introducing the traditional techno drum kit over the course of the record, deconstructing the ever-changing, looming presence of New York City's skyline. Ambient in the most traditional sense, Games Have Rules omits the top-heavy reverb saturation of so many modern releases and builds from the ground up with an arsenal of hi-fi and lo-fi production techniques/equipment with a cinematic sequence over the arc of the record. But whereas New York City has so often been depicted in film as a prison, Games Have Rules is an embracement of the city's endless possibilities: the LP's gatefold black and white image of The Empire State Building lit up at night from the inside; the ongoing stories of rise and decline lived out at its base.
LP version. Comes with exact reproduction of the original gatefold pop-up sleeve.
"American composer Philip Corner likes Satie too well not to object to how he is played. From the time of his participation in the first performance of Satie's 'Vexations' he realized that here was, lurking under the travesties of the 1st Gymnopedie, one of the greats of this or any other century... a 'secret genius' who masked with humility and seeming conformity a profoundly innovative thorough-going critique of the limitations and pretensions of our High Culture as it has come down to us. A 44-page booklet of commentary and pages of analyses set out to demonstrate this - with implication for performance of the works. As the record title Satie Slowly shows, the indication "lent" is taken at its full value. An ample selection of piano pieces, spread across 2 CDs, come from his early period, music with great spiritual content."
Afro-space-disco contagion -- shuffling and wiggling, synthy and bubbling -- from this re-incarnation of Willy Nfor's Mighty Flames, recruited mostly from the wave of Cameroonian musicians drawn to Nigeria in the late-1970s by its heavy new funk sound. After a stint at the Right Time studio in Onitsha, the First Planet cadets ended up at Phonodisk in Lagos, quickly in high demand as session-players. Its name was intended to evoke the cool obliqueness of U.S. handles like Brass Construction and Lakeside, and the mothership connection of chocolate-city P-Funk. Excellent sound by way of Abbey Road and D&M; spiffy 24" by 12" poster.
Gatefold double LP version, in gatefold sleeve. Includes download card. What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets. Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"'s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
Arc Light Editions follows up two successful vinyl-only releases (Arthur Russell, Ingram Marshall) with Jone Takamäki Trio's Universal Mind, a forgotten Finnish spiritual improv record from 1982, fully authorized by Jone himself. The tracks on Universal Mind are based on traditional Indian arrangements, with Japanese influence, leaning towards Alice Coltrane's spirituality and pace. In addition to traditional improv instrumentation (saxophone, bass, drums), the record also includes synthesizers, gongs, finger pianos, a vibraphone and washbasins. Jone says, recalling making the record: "We played a lot together, daily, at our rehearsal space before recording. We went through the melodies and talked about how to handle them with a kind of different angle, improvised a lot with different sounds. We talked about tempos, especially we were diving deep into special moods, how each of those melodies talked to us. They are mostly old love songs from India, more folk songs than classical music." After the recording, they left immediately on a European tour. "I told the people at the record company not to do anything to the record before we came back, but it was released while we were away. We saw the record on the windows of different record shops when we drove into town from the tour!" The record has never appeared on CD, and the 1982 vinyl release has rarely been heard outside Finland. The only place the release has re-emerged in recent memory is with the track "Bhupala I" selected on Son of Arctic Hysteria, a CD compilation of Finnish avant-garde and experimental music.
LP version. Erlend Øye is a skinny nerd, but maybe that's what makes him a pop star. His huge thick spectacle-lenses act as an interface between his inner life and his numerous collaborators and fans. Erlend Øye is a travelling singer-songwriter who has been making music in various constellations since the late '90s. He sang for Röyksopp, while his own bands are Kings Of Convenience and The Whitest Boy Alive, who recently split up. A laid-back, everyday vibe runs through Erlend Øye's music. Erlend is not larger than life, at the most his songs may be. The pop star from next-door doesn't make any drama, but leaves that to life itself. His relaxed, laid back sound opens your eyes and ears for places, situations and encounters. A certain mournfulness runs through the songs, although they deal with a longing for self-fulfillment. Erlend sings of loneliness, and in doing so, he creates a "we." Until now, Erlend's projects have often been based on simple concepts -- two guitars and two vocals with Kings Of Convenience, and four instruments with The Whitest Boy Alive. With his new solo album he frees himself of these parameters; for the first time, everything is possible, for the first time Erlend Øye stands alone. The songs on Legao were arranged and recorded with the Icelandic reggae band Hjálmar. The magic of Legao lies in the fact that Erlend's vulnerable vocals and his sincere lyrics are supported by the elegance and consistency of the band. Today, roughness is often used to counterbalance roughness, whereas on Legao, equilibrium is sought -- and found. A simplicity, clarity and minimalism is created that is rarely found in pop music. Erlend Øye has grown up. He accomplishes nothing less than the step towards an independent, free-standing solo musician, who can perform in any constellation -- with a band, orchestra or alone with a guitar.
"'Here back in Buenos Aires after more than three months touring... so nice to slow down and relax a bit.' Those were the first words coming from an email from Anla after another long tour around Europe but there had been many other tours.
Day 10. After a long train delay in Mannheim we were confused and exhausted and not remembering where the next destination would be. Mannheim had only offered a hard floor as bed and no sheets, and this is in the middle of winter time. Of course, this experience gave us the idea that we should or more precisely MUST do a record together, and the concept would be: Travelling. Like an audio travel guide. Plus, we are all big fans of the Travelling Wilburys. We thought this idea to be one of the best ones on this tour so far. In the train we were listening to Future Days by Can.
Day 4. Moving backwards a bit here. We caught Anla working on recordings in his hotel room. This was in Stockholm and one of the better paid gigs, with hotel rooms for all of us. Anla was interested in the sound coming from the theater in the bathroom. So he started recording its sound using a Dictaphone. It sounded really interesting and was made into a long fade at that night's gig in Stockholm. You can hear that same sound on the record.
Day 6: Copenhagen: Here traditional town flavors, located bookstores can be found all around. 'Beer capital town,' some might say. Weather was not on our side and the trip took close to 12 hours but was all worth it. I think it was Siggi saying something along the lines of: 'Expensive but worth it!' Helgi also remembered that time in the late '90s when touring with Reynols. Back then we did gigs with small card paper boxes as main sound source.
Day 8: The Keukenhof Gardens, Leiden, Holland. We decided to invite some local musicians to the bar, as we had a few days off, and we took advantage of doing a few outtakes. Some of it appears on this record but we can't tell you where, as the track listing got mixed-up by the recording engineers."
Glitterbeat: Dubs & Versions I
Double LP version, cut at 45 rpm. Includes download code. On 180 gram vinyl and housed in a gatefold sleeve. "It can't be much of a surprise that Glitterbeat would eventually assemble a collection of dubs and versions of songs by their artists. Our very first release in the spring of 2013 was a 500-piece limited edition 12" where two tracks from the Malian Afro-rock newcomer Ben Zabo were given an inspired dub treatment by legendary Berlin producer Mark Ernestus. Those two tracks are included here as well as eight other reinterpretations from our growing catalog. Having had the privilege of working with each of the Malian artists remixed for this album we can safely say that this project will not seem as strange to them as one might assume. In contemporary Malian music, reggae plays a fundamental role and nearly every electric-based band we have encountered in Bamako and beyond incorporates at least some reggae elements into their sound. Also the rapid, ubiquitous rise of hip-hop in Mali has brought samples, remixes and programming into the direct orbit of the country's urban musicians. And in the dusty, open lots of Bamako's sprawling neighborhoods, the music that one most frequently encounters being performed is Balani, a sort of Malian variant of dancehall, where laptop electronic beats and declamatory 'toasting' are combined with samples of balafons and other traditional instruments. Balani is by definition a remix-generated music. Bringing together the different mixers with the songs of the original artists was an exciting process. Our choices of who to invite rose intuitively out of our record collections and our personal networks and almost every mixer that we approached thankfully accepted the invitation. Mark Ernestus was asked to fashion our original 12" not only because of our deep love for his work with the abstract dub duo Rhythm & Sound but also because of his albums in collaboration with Jeri Jeri, the Senegalese sabar group. Dubmaster Dennis Bovell's work with Linton Kwesi Johnson, The Pop Group and Orange Juice has been a big part of our personal soundtracks for more than 30 years. We were introduced to the South African Nozinja via his infectious Shangaan Electro productions. Honest Jon's released an excellent remix album (Shangaan Shake) of his tracks and we thought it fitting that he join our remix dialogue. We stumbled upon the British-Ghanaian performance, visual and musical artist Larry Achiampong's self-released LP More Mogya and were excited by its mash-up of palm wine and high life samples with hip-hop beats. We have been fans of Mark Stewart all the way back to his days in the seminal post-punk band The Pop Group, but it was his recent dub album Exorcism of Envy that really caught our collective ear. The intricate Afro-techno of "Harmonius Thelonius" is by definition a sort of West African music remix project, and he seemed a perfect choice to invite. Rounding off the list of mixers is Dirk Dresselhaus aka Schneider TM, whose wide-open musical obsessions have embraced indie-rock, analog electronics, improvisation and field recordings. With the finished master of this album right now echoing from our speakers we are already thinking about Glitterbeat: Dubs & Versions Volume II. Can't wait." --Chris Eckman & Peter Weber, Glitterbeat Records
Double LP version. 180 gram vinyl, limited to 300 copies worldwide. Presented in bespoke PVC sleeve with spot varnish pattern. Second Storey (previously known as Al Tourettes) produces music that runs the gamut from multi-part suites of hefty sound design to club-shaking yet brainy dance epics for labels such as Apple Pips, Aus and many more. This new project is at the crossroads; vastly complex, intricately arranged and inspired by love and emotion. Double Divide inhabits a space full of contradictions, paradoxes and idiosyncrasies -- it's a mix of high-intensity, beat-driven music, adventurous club tunes that show off Storey's bass roots, but at the same time is balanced by more emotive ambient passages, psychedelically-inspired musical abilities, complex rhythmic structures and emotive melodic phrases.
Into The Light Records continues to shine light on the undiscovered heritage of Greek electronic music, highlighting the work of prolific Greek composer George Theodorakis on the label's third archival release. The Rules of the Game features mostly unreleased studio recordings Theodorakis made between 1978 and 1996, with the addition of selected material taken from his sought-after Margo and Sima LPs. George Theodorakis is the son of legendary Greek composer Mikis Theodorakis. Unlike his father, George only released four albums -- pressed in small quantities -- over a period of time spanning nearly two decades. Despite such limited official output, Theodorakis was intensely involved in music. George has always had the privilege of owning a well-equipped home studio -- the SSR Studio (1976-1984) and later the Theta Studio (1985-1987, 1993-1997) -- where he'd spend most of his days working, often completely losing all track of time. These studios provided the ideal environment where he could explore new synthesized sounds and freely experiment. Although Theodorakis' music can be considered reclusive, esoteric and personal -- especially if measured against the standards of most Greek productions of the same time -- a number of his compositions found their way into the soundtracks of theater plays, TV series, dance performances, etc. Theodorakis' work was probably too forward-looking to meet with wider success and appeal to a broad audience back then; The Rules of the Game hopes to finally earn the composer the attention and acclaim his music undoubtedly deserves.
The man who put the beat into Afrobeat is back! Part of the Tony Allen reissue series on Kindred Spirits, featuring remastered versions and original restored artwork. A must for Afro-beat fans around the globe. Without question, one of the highpoints of his post-Fela catalog was the 1999-released record, Black Voices, which crosses over so many musical boundaries that it is impossible to name them all. A group effort in every sense of the word, Tony Allen found himself surrounded with some of the most innovative, talented, and energetic musicians on the planet, and the sounds and moods they created as a group represent the pinnacle of what can happen when such talent is properly focused. Each of the tracks on Black Voices explodes with positive energy and irresistible grooves, yet there are also social criticisms and observations running underneath the stunning musical arrangements.
"After releasing a first glimpse in the form of the Atomos VII EP earlier this year (2014), A Winged Victory For The Sullen reveal their second full-length album entitled Atomos which sees the duo introduce flurries of electronics, harp and modular synthesizers to their sound in the follow-up to the 2011 self- titled album. In 2013 AWVFTS caught the ear of Wayne McGregor, founder of Random Dance Company and resident choreographer at the Royal Ballet, who is perhaps best known for his choreography work on the Radiohead video 'Lotus Flower' as well as 'Ingenue' by Atoms For Peace. McGregor used the debut album as the warm-up music during practice sessions for Random, and after noticing the group's reaction with the music, he contacted Adam and Dustin to see if they would write the score for his new work. Given complete artistic freedom, the duo treated the score with the same care and attention as their debut full-length by recording more than sixty minutes of music over a four-month period across studios in Brussels, Berlin and Reykjavik with the help of their long time collaborative sound engineer Francesco Donadello. During the process they came to the realization that this would become their ofﬁcial second studio album. McGregor provided them with the inspiration to expand their sound palette into more electronic territory, whilst keeping their signature chamber sound, resulting in a very unique release."
Just Getting Started/Tilikum
Cutting-edge UK underground rhythms from Bruce on the reverse Livity Sound label.
"A reissue of the seminal first album from Swiss Wavers, Guyer's Connection. Tibor Csebits and Philippe Alioth formed Guyer's Connection in Basel, Switzerland when they were only 14 and 15 years old. At the time they were in a new wave rock band called Kurtzschluss which they decided to break from in order to make purely electronic music. They began with two synthesizers, a drum machine, a 4-track tape recorder and a multitude of ideas. They channeled their unique and humorous vision into their first album, entitled Portrait which they produced themselves and self-released in 1983. Over the years, the album became a highly sought after minimal synth cult classic. It stands alone as one of the strongest examples of Swiss Minimal Wave, and probably the only one that is in Baseldytsch. The Portrait reissue is presented in a high quality gloss sleeve, with artwork to match their original sleeve design from 1983. The record features newly remastered audio pressed on 180 gram black vinyl, as a hand-numbered edition of 999."
LP + CD version. Gatefold sleeve. The impact of these eleven sound poems, or poetry tracks, derives less from intentional meaning and symbolism than from fortuitous coincidences, cut-ups, and flashes of inspiration in the course of handling the audio material. Rather than a composed narrative, the tracks reflect the inner reality of the authors Burnt Friedman and Daniel Dodd-Ellis. Moods and impressions from B. Friedman's Sub-Saharan concert tour in 2013 as well as fragments of memories of an imaginary future fuse together in the music and text of all eleven tracks. These responses to real-life "kpafuca" ("things falling apart") -- conditions in African metropolises -- collapse into grooves and phrases reminiscent of Chris Marker's sci-fi apocalypticism (La Jette, Sans Soleil). This polyphony of non-places also includes the spirit of sound explorers such as the musical-ethnological practitioners Hartmut Geerken and Roman Bunka (Embryo), whose visions and musical activities refuse to succumb to reductionist and essentialist staging. In Cease to Matter, Friedman intuitively pits the liberating power of noise, of über-mensch-maschinen music, against those cultural landscapes repeatedly automatically inscribed into music. Odd beats and random technical defects -- that is to say, disobedience -- are pitted against the normative interpretational supremacy of musical world maps. The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever. The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line "Skies are blue inside of you" comes from Aldous Huxley's novel Brave New World, which appeared in 1932. Tracks 04 and 09 ("Cease to Matter") contain a piano sample edit based on a composition by Georges Ivanovich Gurdjieff (1872-1949).
Gatefold double LP version. Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with 2013's Trust compilation, and the culminating Work comp doesn't break that streak -- consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. Its sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song "Things Behind the Sun" with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' "A Pixel," produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions -- "What They Say" and "Gone Too Soon." Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.
"Stoicism" (German: "Stoa") is one of the most influential philosophical schools in Western civilization. An essential property of stoic philosophy is the cosmological perspective on a holistic experience of the world, resulting in a universal principle that prevails in all natural phenomena and correlations. The stoic individual is mostly concerned with recognizing and occupying his place in this order -- he does so by embracing his fate through the stoic practice of emotional self-restraint, striving for wisdom by means of serenity and tranquility.
Tav Falco's Wild & Exotic World of Musical Obscurities
Double LP version in gatefold sleeve. Tav Falco, the Memphis legend (of Panther Burns fame) compiled 25 of his favorite tunes from '50s rockabilly to tangos, waltzes & other wonderful obscurities. Songs he loves, songs he covered with Panther Burns, songs that influenced him, thus shedding much light upon the music that incessantly ignites Falco's muse. This is a wild and wonderful ride. A Back to Mine-style compilation that will open your ears. Double vinyl housed in a gatefold sleeve with extensive liner notes by the maestro himself. Artists include: The Johnny Burnette Trio, Don Willis, Bobby Lee, Allen Page, Arthur "Big Boy" Crudup, Jimmy Lloyd, Benny Joy, Alexander Princes, Bachicha Bianco, Anton Karas, Los Indios Tacunau, Carlos Di Sarli, Orchestra Juan D'Arienzo, Osvaldo Pugliese, Elmore James, Bobby Blue Bland, Chet Baker, Fred Buscaglione, Martin Denny, Dion & The Belmonts, Shorty Rogers, Charlie Feathers, and Alex Chilton.
LP version. The first-ever release of mythic Colombian groups Ensamble Polifonico Vallenato and Sexteto La Constelacion De Colombia. A full-length album of exclusive archive recordings featuring members of the Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas. Bland rock and pop music took over Colombia in the 1980s. For a country with so much musical heritage, this was blasphemy. Ensamble Polifonico Vallenato and Sexteto La Constelacion de Colombia were two groups who, in the late 90s, fought to redress the balance. Ensamble Polifonico Vallenato started as a joke, a parody of the bad vallenato music a bunch of university students would hear on the bus into campus. Their idea was simple: "to play whatever and see what happens." The resultant music was as heavy as rock, as acidic as punk and as far-out as the most left-field free-jazz. At the heart of it all was fiery accordion and acerbic vocals, often playing in call-and-response, just like the classic vallenatos of yore. The lyrics formed a big part of the group's identity; they were deep, sarcastic and surrealistic, and revelled in toying with Colombian clichés. The music soon stopped being a parody. The students began to learn more and more about Colombian folklore and their sound evolved. Soon, they ditched the accordion, replacing it with flutes from Colombia's Caribbean coast, and renamed the group Sexteto La Constelacion de Colombia. The musicians were now more mature, though no less experimental. Both groups were rebellious, counter-cultural and added to their reputations with anarchic live shows. At the time, the reaction was mixed. To quote the group, they were "approved by a few but disapproved by a lot." For many musicians who saw them play during their short lifespans, they offered an alternative, a new form of Colombian music that was rooted in their country's heritage but could be as innovative and experimental as any jazz or rock. A seed was sown that started a new branch of Colombian tropical music. The band members now play in groups like Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas -- bands that have released albums and toured internationally, as well as won critical and public approval while maintaining the revolutionary spirit that will ensure that the evolution of Colombian music is not ready to stop yet.
The Deejays Meet Down Town 1975-1980
LP version. The late '60s and early '70s spectacle of Jamaican deejays taking their live performances out of the dance halls and translating them into hit records, not only marked the beginning of 40 years of dancehall-driven music on the island but also provided the original inspiration and template for the global dominance of rap and hip-hop. The art of deejay was now rightly recognized and the toasters or talk-over artists advanced from introductions and interjections to stringing complete sets of lyrics together and riding the rhythm for the entire length of the song. Deejays including U Roy, I Roy, Dennis Alcapone, Big Joe, Little Joe and Prince Jazzbo, who built their reputations working live on sound systems, now went one step beyond and moved on to become recording deejays with entire catalogs of hit singles and albums to their credit. Throughout the '70s a whole host of mic men followed in their wake, including Dillinger, Dr. Alimando, Clint Eastwood and Jah Stitch. Talking records were not new, but "talk-over" records were. The repercussions of this uniquely Jamaican phenomenon would go on to reverberate worldwide.
"We're honored to present a 12" EP of tracks from the archives of Sheffield based electronic music legend Richard H. Kirk, entitled Never Lose Your Shadow. Kirk first came to prominence in the 1970s as a member of the seminal industrial band Cabaret Voltaire. His first release as a solo artist, Disposable Half-Truths, came out in 1980 on Throbbing Gristle's Industrial Records label and since then he developed a solo career parallel to the band until its dissolution in 1994. On the EP, we compile tracks originally recorded between 1978 and 1987, which have never before been released on vinyl. The title track, 'Never Lose Your Shadow' blurs the lines between harsh industrial, dance floor, and no wave. This is one we've been playing out for a while now and wondering why it hadn't been pressed on vinyl. The other three tracks are more experimental and reference ideas Kirk was exploring in Cabaret Voltaire at the time. When asked specifically about this collection, Kirk explains that 'none of the tracks were outtakes for Cabaret Voltaire, they were always solo tracks, although I think Never Lose Your Shadow was very much a blueprint for the material that Cabaret Voltaire recorded for Virgin / Some Bizarre between 1983-85. The minimal sequencer / drum machine lockdown that I used later for Cabaret Voltaire was pioneered on this track. Lyrically, Never Lose Your Shadow was inspired by the 1971 speed freak road movie Vanishing Point, amongst other things.' The EP is limited to 999 hand-numbered copies."
What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets. Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"'s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
"A mega mix of 70's/80's Afrika Bambaataa/Zulu Nation dub plates and acetates. Release to celebrate DJ Shadow and Cut Chemist's Renegades of Rhythm tour, honoring the artistry of Afrika Bambaataa. Housed in a hand silk-screened jacket."
Residue of the Residents 2LP
Future City Traffic - Part 1 12"
Future City Traffic - Part 2 12"
The Rules of the Game (Original Studio Recordings 1978-1996) 2LP
Glitterbeat: Dubs & Versions I 2LP
The Deejays Meet Down Town 1975-1980 LP
Never Lose Your Shadow 12"
Best of Horace Andy Vol. 2: Collie Weed LP
From Here We Go Sublime 2LP+CD
Whiskey A-Go-Go, 27 March 1972 CD
Golden Circle Afternoon LP
V: Five Years of Artefacts - Chapter One 12"
Just Getting Started/Tilikum 12"
Night Time Is the Right Time 12"
Tav Falco's Wild & Exotic World of Musical Obscurities 2LP
'The Voices/Glass Statuette 7"
Happiness and Contempt/Montage Morte LP
My Pillow Lava Part One: My Deaf Son LP