Buddha Machine 5 - Black
Buddha Machine 5 - Black. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).
Double LP version. A very special and unique performance of Terry Riley's iconic 1964 minimalist piece In C, previously unreleased. Riley and the Roberto Cacciapaglia Ensemble together at the Aterforum festival in Ferrara, Italy, on July 9, 1988.
Music from Memory's fourth release sees the Amsterdam-based label taking an exciting sidestep with the release of Clouds. It's the debut album from Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land of Light's Jonny Nash, and Marco Sterk (also known as Young Marco). The trio came together during a weekend-long recording session in April, 2014, with no preconceived ideas. Developed around improvised jams, the eight tracks on the album are all single-take live recordings. The three musicians succeed in developing a musical language all of their own, with Gigi Masin on Rhodes and piano; Jonny Nash on guitar, melodica, synths, and trumpet; and Marco Sterk on synths, rhythmic structures, and production duties. Recorded in the heart of Amsterdam's red-light district, the album reflects the unusually warm spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. And on the more introverted late-night compositions, the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. Clouds is a simple, heartfelt record of an inspired meeting of unique souls in unique surroundings.
2015 repress, originally released 2007. "Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde/experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face?' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's 24->24 Music for the first time ever on double LP. Includes the original album tracklisting plus rare 12" remixes and edits."
LP version. Legend of underground music Jarboe joins forces with visionary cellist Helen Money (Alison Chesley) to create a heavy, beautiful record, with Chesley's cello looming massive and distorted over much of the proceedings, and moments of transcendent beauty from Jarboe's ethereal vocal and piano work soaring above the drones and reaching for the beyond. Jarboe is a famed vocalist, musician, and performer, who came to prominence as a vocalist and songwriter in Swans. In addition to her numerous solo albums, she has notably worked with Neurosis and Blixa Bargeld. Helen Money is the nom de guerre of cellist Alison Chesley. In addition to working with Mono, Anthrax, and Russian Circles, she has toured with Joe Lally and Shellac, among others, and released her third album Arriving Angels on respected metal label Profound Lore Records in 2013. Working together and separately on the compositions, Jarboe and Chesley have crafted a seamless whole, with moments of sparse beauty mirrored by howling squalls of intensity. This is a human, organic album; the voice of Jarboe and the many-textured strings of Chesley's cello combine with an earthy depth but reach for the stars. Mastered by Kris Force.
A seminal album of the French yé-yé era, Françoise Hardy's self-titled 1962 full-length debut, released in the U.S. as The "Yeh-Yeh" Girl from Paris! in 1966, appeared shortly after her 1962 debut single Oh Oh Chéri/J'suis D'accord. The success of this album, along with its hit "Tous les Garçons et les Filles," made the 18-year-old French bombshell a huge star in Europe and an icon of the French fashion and music industries. Along with other yé-yé girls of the '60s like Jane Birkin, Brigitte Bardot, France Gall, and Sylvie Vartan, Hardy exuded a kind of sexy innocence that made French women the most liberated and the most desired in the world. On 140 gram audiophile clear vinyl; limited numbered edition of 500.
Gift from Noahlewis' Mahlon Taits, which was previously issued on vinyl LP by EM Records in November 2012 (EM 1100LP), is now finally available on CD with three additional tracks, a new track sequence, and new cover art. The band has a unique place in the current Japanese music scene; a hard-to-classify blend of original compositions (swinging garage-sax swagger, serpentine accordion/musical saw funk, pensive sky musings) and well-chosen covers, acclaimed (Rogers and Hart, Joe Meek) and obscure (lounge wizard Bobby Hammack and '50s pianist/composer Bob Brandt). Recorded in 2011-2014 in Tokyo, this album captures the special Noahlewis' Mahlon Taits frontline blend of sax, accordion, and musical saw, joyfully urged on by the rhythm section. This band, so distinct from the mass of typical Tokyo sounds, is intent on pursuing its own musical vision, joyously melodic and defiantly timeless. The 10 songs on this CD, two of which feature vocals from Tomoko Kanda, were previously released this year on an EM 7", are sure to bring a smile to your face, a tap to your toe, and perhaps, a tear to your eye.
Solo electric guitar performance recorded at the Brooklyn offices of Triple Canopy magazine, January 2014, as part of their annual marathon reading of Gertrude Stein's 1925 novel The Making of Americans. Explores the rhythms and repetitions of Stein's language using Fender Telecaster, Music Man 100 amplifier, and the acoustics of a very small room. Edition of 300. Reissue of a 2014 limited tour-only tape, PAL-010.
This is the album that Link Wray originally offered to the Cadence label in the wake of his groundbreaking debut hit "Rumble" back in 1958. Even though people loved 'em in Washington, D.C., Link and the boys did not last long on the label. Faster than you can say "Rumble," everyone was talking about the new threat to the morals of American youth. Their street image seemed to be sharply at odds with Cadence's formality, so the guys were dropped. Link eventually re-recorded some of the tracks for his next label, Epic, who actually released his debut album in 1960 (RUM 2011003LP), but these are the original Cadence versions from the original session tapes.
Released on Columbia Records in 1960. The Twilight Zone is a cornucopia of space age sounds and great space age pop names. Jerry Murad on harmonica, Mundell Lowe on guitar; Lois Hunt sang the ethereal wordless vocals, while Harry Breuer played the vibes and Phil Kraus covered miscellaneous percussion. Manning himself covered keyboards, using both Ondioline and Ondes Martenot. The album also earns a footnote in musical history as one of the very few recordings to use a serpent, the instrument, that is. Manning got his start during the Big Band era, and he was working as a freelance arranger by the early 1940s. He worked in radio, arranging and conducting for a variety of NBC and CBS shows, and began a long relationship with Columbia Records in the early 1950s. He arranged and conducted on many of Tony Bennett's earliest hits, such as "Rags to Riches," and he went on to provide backing for most of Columbia's roster of singers through the late 1960s, including Vic Damone, Buddy Greco, Andy Williams, Robert Goulet, and Barbra Streisand. His arrangement for Bennett's biggest hit, "I Left My Heart in San Francisco," won a Grammy Award in 1962, and he was nominated several other times for other arrangements for Bennett, Perry Como, Brenda Lee, and others. The Twilight Zone opens with a version of the show's well-known title music and is a very odd and different approach to "space pop." Band leader Manning plays the Ondioline and the "Martinot" (sic), accompanied by a stellar cast of studio helpers including Mundell Lowe (guitar), Jerry Murad (harmonica), and Harry Breuer (percussion). There is so much percussion, in fact, that at times this sounds like "jungle exotica" gone to outer space. Special effects are attributed to Attilio J. Macero. Song selections include "Forbidden Planet," "The Unknown," "The Moon Is Low," and "Far Away." The industrial-sounding arrangement on the latter is referred to in the liner notes as a "tuned motorboat." The effect-laden "Night on Bald Mountain," featuring screams by vocalist Lois Hunt and electric guitar by Lowe, is another highlight. Limited edition of 300 copies.
LP version. Sintetizzatrice is the first recorded document of the collaboration between veteran DJ and producer Donato Dozzy and female vocalist Anna Caragnano. Through his solo work, and in his collaboration with Giuseppe Tilleci (Neel) as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen since the turn of this century. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak with Sintetizzatrice. Over nine tracks, Dozzy works exclusively with the voice of Rome-based vocalist Anna Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph from R&B to kosmische, through traditional Italian folk music, to Fluxus styles and traditional chamber choir with no additional instrumentation. Just a singular, beautiful voice. The results are simply phenomenal. With the opening, "Introduzione," an immeasurable cosmic weight arrives and remains through the duration of the album. "Star Cloud" ascends with melancholy extended drones that evaporate concepts like time and being, rendering basic human perceptions void all the way through "Parallelo." "Parola" dances around the stereo field with dazing rhythms and melodies, while "Festa (A Mottola)" is an homage to the traditional music found in the rural region where, coincidentally, both Dozzy's mother and Caragnano were born and raised. The album's closing pieces "Love Without Sound" and "Conclusione" hit hard in a way to which no words can do justice. By fearlessly entering uncharted territories, Dozzy and Caragnano have made a collaboration which is truly experimental. Sintetizzatrice is a grand debut for Anna Caragnano and a fantastic twist for Donato Dozzy. Produced and mixed by Dozzy at Alaska Studio, Rome, in 2014. Mastered by Giuseppe Tilleci at EnissLab Studio, Rome. Transferred to tape by Pietro Micioni, Angelo Compagnoni, and Massimo Zuccaroli at Village Studio, Rome. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Front cover painting by Angela Scaramuzzi. Cover design by Koto Hirai.
Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7
Vinyl-only 10" release. Stag-O-Lee presents Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7, released alongside Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 (STAGO 071LP) and following volumes one through six, which sold out almost immediately. Amazing, danceable tunes from the late '50s and early '60s -- a handful of popcorn dancefloor smashes, a few grinding tittyshakers, awesome rhythm and blues, most of them with an exotic twist! Includes tracks by Plas Johnson & His Orchestra, Chance Halladay, Nick Anthony, Nicky de Matteo, David Seville, Ted Jarrett & Band, The Astro-Jets, Titus Turner, Ronny Savoy, Malcom Dodds, Alan Arkin, and the Dave Brubeck Quartet.
Choubi Choubi! Folk & Pop Sounds from Iraq Vol. 2
2015 repress. In 2005, Sublime Frequencies released Choubi Choubi: Folk and Pop Sounds from Iraq, and in the ensuing years it has become one of the most beloved and venerable titles in their catalog. Now almost 10 years later, this highly-anticipated second volume is finally here. Compiler and producer Mark Gergis has once again put forth a revelatory and poignant collection of Iraq's national folk music. What has happened to Iraq since the 2003 U.S. invasion and eventual occupation? Endless death, destruction and chaos, the complete take-down of a functional and sovereign secular government (regardless of your opinion on that government), puppet installations, contrived sectarian divisions, the wholesale looting of culture, rampant opportunism, and apparently no lessons learned -- all at the Iraqi people's expense. Naturally, music has continued to be produced in Iraq -- however, since 2003, musicians and artists have been consistently targeted and attacked by extremists, who have also bombed music shops and forced the closing of venues and music halls. The musical style most prominently focused on in this volume is the infamous Iraqi choubi, (pronounced choe-bee), with its distinct driving rhythm that feature fiddles, double-reed instruments, bass, keyboards, and oud over its signature beat. Choubi is Iraq's version of the regionally popular dabke, another celebratory Levantine folkloric style of rhythm and line dance. What really defines the Iraqi choubi sound are the crisp, rapid-fire machine-gun style percussive rhythms set atop the main beat. To the uninitiated, they sound almost electronic. Sometimes they are, but more often this is the work of the khishba -- a unique hand-drum of nomadic origin (aka the zanbour -- Arabic for wasp), which appears across the board in many styles of Iraqi music today, with extensions of it also heard in Syrian and Kuwaiti music. Among other styles featured in this volume are Iraq's legendary brand of mawal -- an ornamental vocal improvisation that sets the tone of a song, regardless of the style, and the outstanding Iraqi hecha, with its lumbering and determined rhythm pulsing beneath sad, antagonized vocals -- as heard on tracks A4 and B2. The tracks on this collection were produced during the Saddam era -- between the 1980s and early-2000s. An important goal within the Iraqi Baathist agenda was to promote its brand of secularism, which saw the establishment of cultural centers, and a fostering of the arts. Music was more encouraged, albeit more institutionalized than ever -- particularly folkloric and heritage music such as choubi. In an Iraqi army comprised of seven divisions, Saddam referred to singers as the eighth. Still, unless a rare level of stardom has been achieved, being a singer or musician isn't usually encouraged or viewed as a respectable lifestyle in much of the Arab world. It's often those deemed social outsiders that tend to find their niche in music -- particularly the "party music" heard on this collection. Among them are the Rom Gypsy Iraqis (known as Kawliya in Arabic). A number of female singers wear masks and adopt pseudonyms to protect their identities, as some are runaways or prostitutes making ends meet in the seedy nightclub scene. Occasionally, they end up with successful recording careers. Sajida Obeid, who has appeared on both volumes of Choubi Choubi! is an example of a talented Kawliya singer from the nightclub scene of the 1980s who rose to choubi infamy in Baghdad. Choubi inevitably invokes tawdry connotations within Iraqi society (cheap nightclubs for the lower classes, outcast gypsies and singing prostitutes), but in fact, many calibers of Iraqi singers and ensembles have recorded and performed the music. Unofficially, choubi can be called the national dance of Iraq. Though some may deny this claim (mostly due to its reputation and stigma), at most Iraqi weddings you'll find people from all walks flaunting their best choubi moves. Iraqi music has always had a way of transcending religious groups and ethnicity, collectively shared between Arabs, Kurds, Assyrians and myriad other Iraqi minorities. In 2013 sadly, this diversity and unity within Iraq is increasingly fragmented, but traditions continue throughout the internationally displaced diaspora. Limited edition 2LP set in a heavy gatefold jacket with beautiful artwork and liner notes by Mark Gergis.
Subliminal Sounds presents a vinyl reissue of Älgarnas Trädgård's 1972 debut album Framtiden är ett svävande skepp, förankrat i forntiden, a rare and totally flipped-out psychedelic underground space rock masterpiece from Sweden. The band name translates to "The Garden of the Elks" and the album title to "The Future Is a Hovering Ship, Anchored in the Past." A long, long time ago, long before our time, there was high-standing civilization on earth. It was then that the elks lived. In their garden was a huge generator of pink glass that radiated the four elements. It was a sort of primal force for everything that one might call God. These elks eventually learned to master the matter and then went into the astral transcendental plane. Since then nobody has seen them... This reissue is a facsimile deluxe re-release from the master tapes. Includes additional LP with previously unreleased recordings from the same time period. Features never before seen photos and liner notes by the band.
Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair's much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. CD edition includes an exclusive remix of "Vengeance." Double LP edition includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014).
DJ Clent, Chicago's low-end legend, after a few seminal releases on Dance Mania and the 2014 Hyper Feet EP on Planet Mu, returns with his first full-length album, Last Bus to Lake Park, on Duck n' Cover Records, the world's one and only 100% footwork vinyl label. The stakes are high and so is the sound: epic, acidy, deep, driving, ferocious, soulful. It's a classic Chicago record all the way, deeply rooted in the windy city's thriving legacy, showing why it was there where house music was born, and proving that in 2015 it still is the hottest place for challenging and forward-thinking electronic dance music. Sixty-five minutes of pure footwork mayhem, playing in the same league as DJ Rashad, DJ Spinn, Traxman, and RP Boo, and a great listening album as well. DJ Clent is an original, and nobody can imitate his influential style, though hundreds of young producers have tried -- he's still the deepest. Features guest appearances from DJ Milton, RP Boo, DJ Puncho, and Majik Myke.
"John Wiese's long awaited Deviate From Balance is the artist's first album since 2011's Seven Of Wands (PAN). Recorded throughout Europe/UK, Australia, and the US, the album includes scored ensemble pieces including over 20 musicians on each, recorded in Melbourne and Portland, as well as audio documentation of installation pieces Wind Changed Direction, a four-channel sound piece presented in the garden of the Getty Center (curated by Liars), and Battery Instruments, an eight-channel piece presented at HSP in New Zealand, now heard for the first time. Also included are various collaborations and recordings from live performances. At over 80 minutes, Deviate From Balance has been packaged as a 2×LP with tip-on gatefold jackets. Musicians appearing include Joseph Hammer, Ikue Mori, Evan Parker, C Spencer Yeh, Joe Preston, Smegma and countless more. The material is extremely diverse and services as a comprehensive and detailed document of this prolific individuals work over the past several years."
1970 was a turning point for Miles Davis, and it proved to be the most consistently intriguing year of his decades-long career. Davis had previously performed exclusively in jazz clubs and festivals, and Dave Holland, when he arrived from England in 1968, noted that he was "shocked at how few people were coming to Miles's concerts." But by the beginning of 1970, in conjunction with the April release of Bitches Brew, Davis began appearing at rock venues, sharing the bill with established rockers like Steve Miller, Grateful Dead, and Neil Young and often playing to audiences of thousands. His appearance at Bill Graham's Fillmore West on October 15, 1970, highlights the transitional phase in Davis's career, with his septet following a relatively consistent set list in order to provide a cross-section of his repertoire to a young and relatively unfamiliar audience. In hindsight, this was an important move, and an acknowledgement of the reality that this was the demographic Davis would need to capture if he were to remain both fresh and relevant. This performance was rapturously applauded by a fresh audience, fully endorsing Davis's profound ability. Hi Hat presents the complete KPFA-FM radio broadcast of this performance, a tribute to the iconic jazz musician that portrays the depth and diversity at work at such a vitally important point in his career. Played by Miles Davis: trumpet; Gary Bartz: soprano and alto saxophones; Keith Jarrett: electric piano and organ; Michael Henderson: bass; Jack DeJohnette: drums; Airto Moreira: percussion; and Juma Santos: percussion. Includes analytical liner notes and photos. Digitally remastered.
Snow Ghosts return with A Wrecking, the follow-up to their 2013 debut A Small Murmuration (HTH 006CD/LP). Influenced by the shadowy elements of British folklore and the heavier side of experimental noise, Snow Ghosts' bewitching and intoxicating sound combines a disparate array of references. Ross Tones (aka Throwing Snow) and Hannah Cartwright (aka Augustus Ghost) are now joined by multi-instrumentalist Oliver Knowles (EXES) to pool their individual inspirations, ideas, and styles. Focused more on melody and instrumentation than rhythm, A Wrecking ebbs and flows to mirror its vocal meanings; the guitars reflect the sea with panning and reverb effects while a haunting electric violin slips in and out of the record's consciousness. Mastered by Matt Colton, Music Producers' Guild 2013 Mastering Engineer of the Year, at Alchemy Mastering. Presented in bespoke PVC sleeve with spot varnish pattern.
E.T. Mensah was the first King of Highlife, and although he died in 1996, he's still -- and forever will be -- the King of Highlife, the mainly Ghanaian dance music that he made popular around Africa and beyond in the 1950s and '60s. E.T. (as everyone called him) played a variety of instruments but especially saxophones and the trumpet, composed hundreds of songs and dance tunes, and led the best band on the West African Gold Coast, The Tempos. Modeled on the great American swing bands of the 1930s and '40s, The Tempos blended re-Africanized jazz, Latin music, and calypso with various local dance styles. With their records and tours over the two decades following their recording debut for Decca in 1952, they spread the highlife dance-band sound throughout West Africa (particularly Nigeria, where the young saxophonist Fela Kuti was deeply influenced by E.T. Mensah) and on to the Congo, East Africa, and Southern Africa, everywhere inspiring new dance-band styles. RetroAfric's 4-CD compilation includes all of The Tempos' hits as well as recordings that haven't been available since the days of shellac 78s, all 69 tracks remastered from the best available sources. It is the most comprehensive collection of E.T. Mensah recordings ever released. The 64-page booklet is filled with historical photographs and a biography by John Collins, the Ghana-based record producer and highlife scholar, and the package features specially-commissioned art by Kofi Ankroba.
David Borden, born Christmas Day, 1938, in Boston, Massachusetts, is an American minimalist composer and electronic music pioneer. He was one of the first people to beta test Bob Moog's modular synthesizer systems. His Earthquack Records imprint inspired Mimi Johnson to found the legendary Lovely Music, Ltd. with Robert Ashley. He formed the first all-synthesizer ensemble, Mother Mallard's Portable Masterpiece Company, in 1969. If there were ever a missing link in American minimalism, Borden is it. Music for Amplified Keyboard Instruments is his masterpiece, released in 1981 to little fanfare on the now-defunct Dutch label Red Records. As its reputation has grown, most listeners have had to settle for compressed YouTube clips and poor vinyl-to-digital transfers, with original copies increasingly rare and expensive. Now, 34 years after its original release, Spectrum Spools presents the first reissue of Music for Amplified Keyboard Instruments, after recovering in Borden's private archives the only known safety master. Music for Amplified Keyboard Instruments contains four pieces, each utilizing three players and six keyboard instruments. "Etsy Point, Summer 1978" begins with a mournful, ominous mood and slowly blossoms into an immense, humid labyrinth of colorful, buzzing textures and howling melodies. "The Continuing Story of Counterpoint" is a 12-part cycle for synthesizers, acoustic instruments, and voice, upon which Borden labored for over 11 years. Parts nine and six, included here, are miraculous achievements in prodigious playing technique, remarkable mosaic-like structure, and aural magnitude, operating in the relative terrain of Steve Reich's Music for 18 Musicians and Terry Riley's Dervishes pieces. The "Counterpoint" pieces here are rigidly arranged with breakneck key changes and intricate time signature maneuvering. The resulting audio conjures kaleidoscopic patterns of beautiful melodies and compositional anatomy unparalleled in much of American minimalism. "Enfield in Winter" displays some of Borden's more ambient leanings, with slow, morphing drones and gentle pad sounds that erupt into shimmering patterns backed by a grandiose chord progression. Music for Amplified Keyboards represents a veritable zenith in Borden's corpus; a radiant achievement in sonic elegance, experimentation, and ambitious composition technique, and a work of the highest archival significance. Music for Amplified Keyboard Instruments was remastered with love and transparency by Giuseppe Tillieci at EnissLab, Rome. These newly remastered works are superior to the original vinyl master, giving the world a chance to hear this remarkable work in the highest possible fidelity across multiple formats. Includes extensive liner notes and photos by Borden.
Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when he's not playing with the now-famous Burkinabé musician Victor Démé -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougou's DIY underground musical culture. Juguya is their sound.
2014 repress. After the re-release of Drexciya's Neptune's Lair (TRESOR 10129CD/LP) and Transllusion's The Opening of the Cerebral Gate (TRESOR 270CD/LP), Harnessed the Storm is the third album in Tresor Records' great Drexciya reissue program. Originally released in 2002, Harnessed the Storm was conceived as the opening chapter of the legendary Seven Storms -- a series of seven albums created within a single year and released via several labels under different names. Harnessed the Storm was the sole one in the series credited under the main Drexciya project. The album, which is considered to be one of the pair's darkest, was produced in a time of creative outbreak and emotional turbulence. The duo's confidence was at a peak, new techniques revolutionized musical production, but the duo also had to face Stinson's severe health issues. This led to a radical shift of pace in producing and releasing music. For the Detroit pair it was time to move on from their ground-breaking past. It was time for some shape-shifting and wave-jumping to occur, in Drexciya's terms.
One of two different sets, along with Two City Blues 2 (TROST 128CD), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.
Awake is a collaboration between noise veteran Mike Shiflet and guitarist John Kolodij (aka High Aura'd), and was recorded over the course of three autumn days in Kolodij's Rhode Island studio. This isn't your expected by-email collaboration though; rather, the two sat together in the same room with amps humming and strings vibrating, letting the space and the physicality dictate the music. The sessions were improvisational in nature, and as the recordings were cleaned up and edited, only sparse field recordings were added to enhance the live takes. It's a record that might sound electronic in parts -- indeed, echoes of Tim Hecker or Yellow Swans are present throughout -- but has the guitar at its core. Awake is a direct descendent of Godspeed You! Black Emperor or even Glenn Branca, but has been smudged, distorted, and delayed beyond recognition. What's left are traces -- the ghosts and outlines of songs, trapped in a fog of white noise and overdrive -- and the end result is disarmingly serene. Mastered and cut by Matt Colton. Edition of 500 copies.
Imaginational Anthem Vol. 7 CD
Boom-A-Lay: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 7 10"
Chug-A-Lug: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Vol. 8 10"
Love, Peace & Poetry -- Brazilian Psychedelic Music LP
Love, Peace & Poetry - Chilean Psychedelic Music LP
Live at the Jester Lounge - Houston, Texas 1966 CD
The Opening of the Cerebral Gate 3LP
Carter Tutti Plays Chris & Cosey CD
Spacegirl and Other Favorites LP
Demolicion: The Complete Recordings LP
Los demenciales chicos acelerados 2LP
The Original 1958 Cadence Sessions LP
Waltz for Debby (Clear Vinyl) LP
Francoise Hardy (Clear Vinyl) LP
Brazil's King of the Bossa Nova and Guitar LP
The World Of Harry Partch LP
Choubi Choubi! Folk & Pop Sounds from Iraq Vol. 2 2LP
We Sing for the Future & Thalmann Variations LP
Electric Lucifer Book II (In Which Lucifer Tempts Jesus of Nazareth) LP
Buddha Machine 5 - Black Soundbox
Buddha Machine 5 - White Soundbox
Songs About Unconsciousness 12"
Gift from Noahlewis' Mahlon Taits CD
Reunion of Two Bodies 12" + CD
Misterio (incl. Brothers Vibe Remix) 12"