Ba Power, Bassekou Kouyaté & Ngoni Ba's fourth album (and their first for Glitterbeat Records) is a striking, career-defining record marked by mesmerizing songs, razor-sharp riffs, and full-throttle emotions. Following two years of worldwide touring for the much-heralded Jama Ko (OH 021CD/LP), Bassekou's band, Ngoni Ba, has turned up the volume and dynamics significantly and Bassekou's masterful ngoni playing has achieved a new level of intensity that can only be called: Afro-rock. Distortion and wah-wah and propulsive rhythms now form the defining backbone of his songs and the white-hot vocals of his wife, Amy Sacko, serve more than ever as his passionate and perfect foil. When asked what Ba Power means to him, Bassekou replied, "'Ba,' in Bambara, means 'strong' or 'great' and it also means 'group.' I called the album Ba Power because I think the messages on it are very important and strong, and it is also definitely the album with the toughest sound I've ever made. I want these songs to grab as many people as possible." Ba Power was recorded in November of 2014 at MBK Studios in Bamako, a studio just down the road from the Kouyaté family home in the hills at the edge of the city. Produced by Chris Eckman (Tamikrest, Aziza Brahim), the album began with Ngoni Ba playing together live in a relaxed, intimate space. Features appearances from legendary Songhai blues guitarist Samba Touré on "Fama Magni," soku master Zoumana Tereta on "Fama Magni," vocalist Adama Yalomba "Waati," massively influential composer and trumpeter Jon Hassell on "Ayé Sira Bla," guitarist Chris Brokaw (The Lemonheads) on "Siran Fen" and "Abé Sumaya," and drummer Dave Smith (JuJu, Fofoulah, The Sensational Space Shifters with Robert Plant) on four songs including opener "Siran Fen." Ba Power contains all the swagger, precision, and wide-eyed excitement that the title implies. It is the album on which Bassekou's music engages with the world in unprecedented ways, and the album with which he confirms his status among the 21st century's most relevant musical artists. "I think African music and culture deserve to be spread to the broadest audience possible. That is what I want to accomplish with Ba Power" --Bassekou Kouyaté. Bassekou Kouyaté: lead ngoni; Abou Sissoko: medium ngoni; Mamadou Kouyaté: bass ngoni and backing vocals; Moctar Kouyaté: calebash; Mahamadou Tounkara: yabara, tamani, tamaba; Bina Diabaté: medium ngoni ba; Amy Sacko: lead vocal and backing vocals.
Lost Shadows: In Defence of the Soul - Yanomami Shamanism, Songs, Ritual, 1978
Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake... Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Both double CD and LP include 40-page booklet with text and pictures telling the full story of Toop's fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans. CD presented in six-page digipak.
Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
On April 17, 1975, Phnom Penh fell to the Khmer Rouge and Cambodian rock and roll was no more. Its star musicians were targeted and killed, record collections were destroyed, clubs were closed, and Western-style music-making, dancing, and clothes were outlawed. The deaths of approximately two million Cambodians and the horrors of the Killing Fields have been well-documented; add to this John Pirozzi's fascinating tale of Cambodia's vibrant pop music scene, beginning in the 1950s and '60s, influenced by France's Johnny Hallyday and Britain's Cliff Richard and the Shadows. The filmmaker has assembled rare archival footage, punctuating it with telling interviews with the few surviving musicians. Cambodian culture has long been synonymous with a love for the arts. Pirozzi's 2014 film Don't Think I've Forgotten pays homage to the country's rock legends who paid for their creativity with their lives. Through the eyes, words, and songs of its popular music stars of the '50s, '60s, and '70s, Don't Think I've Forgotten: Cambodia's Lost Rock and Roll examines and unravels Cambodia's recent tragic past. This soundtrack to Pirozzi's important film, compiled by the director, is very cinematic in nature. The sequencing and newly-remastered audio transport the listener through the rock and roll history of Cambodia in a similar fashion as Pirozzi's documentary film. It is both entertaining and essential to hear so many tracks that are available outside of Cambodia for the very first time. Includes tracks by The Royal University of Fine Arts, Sinn Sisamouth, Chhoun Malay, Huoy Meas, Baksey Cham Krong, Ros Serey Sothea, Pen Ran, Sieng Vannthy, Va Sovy, Drakkar, Pou Vannary, Yol Aularong, and Cheam Chansovannary.
Alicia Bay Laurel is well known as the writer and illustrator of one of the classic books of the back-to-the-earth movement, the 1970 hand-written guide to living the good life, Living On the Earth. She is also an accomplished singer, songwriter, and guitarist, the latter skill honed by studying with John Fahey. The songs on Music from Living On the Earth were composed concurrently with the writing of the book, permeated by the sun and soil of the commune life. Bright and earthy paeans to the natural world, featuring ABL's pure, strong, and uplifting voice atop her fluid, confident, and deft steel-string acoustic guitar fingerpicking, her style showing that she learned well from Fahey. She also collaborated with San Francisco Tape Music Center co-founder Ramon Sender Barayón, who contributes the 40-voice choral arrangement for the closing track. Although these songs were written as the '60s became the '70s, Music from Living On the Earth was actually recorded in 2000, first issued as a self-produced CD, and reissued on CD by EM Records in 2006 (EM 1047CD). This 2015 15th anniversary edition is its first appearance on vinyl, and includes liner notes by the artist as well as English and Japanese lyrics, allowing listeners to again hear ABL's blues, jazz, and Indian music influences meld with folk roots to glorious effect.
London-based electronic producer Ryan Lee West is notable for making synthesizers sound both human and atmospheric under the moniker Rival Consoles. Shying away from creating all of his sounds on the laptop, he instead molds and shapes his melodies on his Prophet, Moog Voyager, and tape delay, the same gear he uses in his live performances. Fascinated by sound from an early age, West chose to dedicate his time to studying, experimenting with, and producing sound, and graduated from De Montfort University in Leicester, England. One consistent element in his musical journey has been his desire to create a more organic, humanized sound. West often drafts early ideas on piano, violin, and guitar. He has repeatedly performed at locations such as the Tate Modern, where his performance resulted in the Boiler Room inviting him to perform a special audio-visual piece at the Victoria and Albert Museum. This CD combines West's 12" EPs Odyssey (ERATP 052EP, 2013) and Sonne (ERATP 059EP, 2014), both of which sold out within only a few months. Synthesizers make up the core sound of the records, while tracks like "Helios," "Haunt," and "Think Tank" feature West playing live drums and acoustic guitar. West describes his process: "I'm often looking at art in exhibitions and I always think to myself 'why the hell don't I have this much colour in my work?' The answer in part I think is down to synthesis. It is very difficult to create colour without it sounding plastic. Colour in music is both the note combinations and the actual timbre of the sounds. There are lots of instances of very colourful ambient sounds, which I took great care to create for each song, using various methods -- from passing analogue synths through chains of effects to chopping up random sequences of recordings and forming tiny collages." As of this release, Rival Consoles is working on material for his third studio album, which he showcased at SXSW in Austin before embarking on a North American tour with Warp artist Clark and US producer Nosaj Thing. This CD comes in advance of his 2015 appearances at The Great Escape Festival, MUTEK Montréal, and OFF Party Barcelona. It's presented in two-sided, die-cut sleeve that comes in two variations folded inside-out and combines the two original cover illustrations by South London artist Supermundane, with layout and re-packaging by Erased Tapes founder Robert Raths.
On Magnetoception, Joshua Abrams is back exploring new contexts for the guimbri, the three-stringed north African bass lute at the heart of his Eremite recordings Natural Information (2010) and Represencing (2012). The artist's first large-scale work on vinyl, Magnetoception began as a commission by Eremite for Abrams to make a double LP based in extended performances by an ensemble of Abrams, guitarists Emmett Kelly and Jeff Parker, and drummer Hamid Drake. The group recorded the nucleus of Magnetoception live to two-track, circled around vintage Neumanns and a woodstove in a Berwyn, Illinois attic in February 2013. Over the next year at his Chicago studio, Parlor One, Abrams added solo pieces for harp and clarinet, along with Lisa Alvarado's harmonium, Ben Boye's autoharp, and percussion embellishments by Drake. Abrams's compositions are a fascinating nexus of ideas from non-western traditional musics, minimalism, and jazz designed to catalyze his musicians toward a single group-mind organism of sound. On his 2012 album Represencing Abrams presented his music in capsule-length pieces realized by duo and trio groupings drawn from a pool of a dozen musicians. Magnetoception presents one ensemble methodically unfolding his compositions over longer durations. The performances intricately layer rhythm, melody, and drone into sonic textiles of extraordinary expressive breadth, by turns dense or spacious, repetitive or indeterminate, clattering or placid. In addition to his masterful contributions on trap kit, tabla, conga, and frame drums, Hamid Drake acts as a direct link to the visionary music of Don Cherry, one of Abrams's essential artistic models. Magnetoception is the fullest measure yet of Joshua Abrams's sound world. It sounds like no other music being made today. Presented in a heavyweight Stoughton "laserdisc" gatefold sleeve; mastered by Helge Sten at Sten Audio Virus Lab, Oslo, Norway; vinyl cut at Sterling by Steve Fallone and manufactured by RTI. Edition of 875 vinyl copies.
Referring to the silence that returns when 2014's Krómantík EP (MORR 130CD/EP) fades out, Icelandic musician Sóley Stefánsdóttir says, "Your closed eyes slowly start seeing something much deeper and darker," and now that something is here, right in front of us: Ask the Deep is a stunningly dark and deeply personal departure after the minimalist and bleak piano compositions of said EP. Her soft voice leads us deeper and deeper into the shadowy fairytale worlds only hinted at on previous releases such as her 2010 Theater Island EP and 2011's much-praised We Sink (MORR 107CD/LP) debut album. Ask the Deep sees the bespectacled songwriter open Pandora's box -- and close it eventually. At least for now. "Have I danced with the devil?" Sóley asks on album opener "Devil," then crescendos, "Does he still love me?" Once the melodic surges of "Devil" lead to other fairytale soundscapes -- the piano no longer the main character of Sóley's music -- more and more ghosts, both real and imaginary, enter the scene. Inspired by a news story about a man who was buried alive in Brazil, "Ævintyr" marches in circles with tribal beats underneath ethereal swirls, and "One Eyed Lady" is perhaps Sóley's most minimalist lullaby yet, the beatless account of a one-eyed witch who would actually "kill for love," as the song's mantra reverberates into the void. With looped forces of gravity and swerving nods to Philip Glass, "Follow Me Down" is a brooding call to enter the distorted depths, to go beyond the point of no return, to leave the comfort zone. And it's a reminder: we still sink. Amid the flotsam and jetsam, things appear that weren't previously there -- hard-hitting drums set to Beach House vibes ("Dreamers"), a haunted church showdown with the jilted devil ("I Will Never"), even a hint of unlikely, hopeful pop ("Breath"). Taking her listeners on a journey to phantasmal grounds, her sophomore full-length is both more intricate and diverse in how it's written, arranged, and narrated. And it's even more obvious that her voice is crucial in guiding the way to that place where one can live, that safe shore on the other side of the ocean. "You must face your fairytale," Sóley sings. She does, as the music maker, but we are the dreamers of the dreams. Six-panel digipak CD includes folded mini-poster.
Three years after Lauer's 2012 debut, Phillips (RB 004CD/LP), on Running Back, the melody man from the outback of Frankfurt am Main presents Borndom: a 13-track trip through a universe that is specifically his. Lauer is far from a stranger to Permanent Vacation, with singles like Delta Kid (PERMVAC 057EP, 2010) or Donner Lake (PERMVAC 123EP, 2014) heralding things to come; the label and Lauer share a spiritual kinship and ethos. Lauer's music is rooted in pop music and mixed with the reactance and sound aesthetics of punk, while wearing dancing shoes; you'll be hard-pressed to find lots of contemporaries that till a similar field. With a sound signature, a melodic repertoire, and an emotional quality that is immediately recognizable, Lauer's work is highly individualized. Unlike his other adventures in club music (he hardly lets a week go by without a release or a remix for the most critically-acclaimed outfits on this planet, either on his own, under the Hotel Lauer umbrella, or as part of Tuff City Kids), his second album makes the most use of these moments and that specific stylistic palette. Of course, you can find typical high-flying Lauer moments like "Mausback" or "Hump Acid" or the nu-groove-esque desire-dubbed "Pal Oh," but the image of a singer-songwriter with a midi-kit prevails. There are miniatures like "Carpet," the blissful melancholia of the opener "Crewners," the album's title-track that sounds like the lost soundtrack to an '80s sitcom about college nerds, and, maybe most startling, Borndom's vocal features. "ESC With Jasnau" is the proverbial cold-wave mating dance in the neon light, while the two songs with Ela take care of romantic highs and lows. With a sound like something that a band of the past made to be heard in a very distant future, Phillip Lauer's second album sees him at his most matured and endured: Borndom! Double LP includes CD.
With Folio, Touch introduces a new series of bespoke hardback book and CD publications, produced to the highest specifications. This first release, Halfway to White, is a collaboration between singular photographer Joséphine Michel and acclaimed musician and sound artist Mika Vainio. Joséphine Michel's images reframe our perception of the visual by exploring the notion of "sonic photography," as she exposes her subjects according to the resonance of the noise-fields felt at her chosen locations. Michel subtly brings to light the inflections of sound -- its tones and pulsations -- in a setting that has often been considered one of the most silent visual arts. This work is mirrored by Mika Vainio's five original compositions, his recordings poised between an environmental hold and atmosphere, while suggesting an extra-sensory world and a dream-state in parallel to the 33 haunting photographs that make up this ensemble. Sixty-page hardcover book and 60-minute CD bound in a gray linen cover and printed on heavy hi-white paper in an edition of 500 copies. Designed by Jon Wozencroft. Further Folio publications can be expected throughout 2015-2016, including new work from Chris Watson, the world's leading sound recordist and sonic painter, and other artists from the Touch stable.
Previously unreleased guitar-and-synth musical jewel from Italy circa 1984. An until-now unknown collaboration between a guitar maestro who composed contemporary dance scores and a gifted electronic music composer. Melodic complexity and rhythmic sonic beauty create a unique and timeless classic that has already achieved cult status among the few who have heard it. Obvious comparisons can be made between Imaginary Choreography and the softer ambient side of vintage German electronic music -- Göttsching, Schnitzler, Cluster, etc., but that would be too easy, as this recording stands alone with its uniquely Italian atmosphere of sophisticated and complex simplicity. This session was recorded by two Venetians: Paki Zennaro (then working with composer René Aubry for choreographer Carolyn Carlson) and Gianni Visnadi (an experimental composer), who met one evening over a glass of wine and decided to work together for the first time with the intention of recording contemporary music to be used by dance schools for study and exercise. The duo recorded on reel-to-reel tape using electronic equipment (Sequential Circuits Pro One and Prophet 5; Roland TR-808 and guitar synth) with an acoustic 12-string guitar. When finished and mixed, a few BASF LH extra cassette copies (maybe as few as six or eight) were sent out to a few friends with a homemade photocopy insert, complete with handwritten track names and production details. A chance find in a Paris market of one of these original demo cassettes led to this wonderful LP finally seeing its first release. This now famous BASF tape was found one lucky morning by Johanna Heather Anselmo (filmmaker, photographer, musician) while searching for musical surprises in a box of tapes that had probably been at that same flea market for 20 years or more. Mademoiselle Johanna is used to rummaging in boxes of dusty tapes, being the girlfriend of Antinote artist Iueke, who has the unusual habit of hiding tapes all over their flat. A bit of searching by Iueke lead him to finding contact information for Zennaro and Visnadi, who were happy to oblige with releasing this almost forgotten 1984 session. Master tapes were sent to Paris for immediate transfer and mastering, while the Check Morris graphic design team worked with its usual class on adapting and reworking the cassette tape artwork for a vinyl issue. Open a bottle of wine and sit back. Includes download code.
Classic Albums + Remixes Boxset 2
Malligator & Because Music continue to put forward Cerrone's disco heritage with vinyl reissues of 1978's IV (The Golden Touch) and 1980's VII (You Are The One), assembled in an exclusive box-set. Both records come with CD versions. IV is housed in a gatefold sleeve with printed-innersleeve and is pressed on gold-colored vinyl. VII is on yellow vinyl. Also included is a double LP remix compilation associating the avant-garde of the contemporary electro-disco scene (L'Impératrice, Sacha Mambo, A-Trak & Codes) as well as such authorities as Frankie Knuckles, Dimitri From Paris, and Kevin Saunderson. The boxset is a numbered limited edition (1000 units worldwide) and comes with a larger poster and red ribbon inside to pull out the records.
Solo debut by PMM. A-side plays at 45 RPM. B-side plays at 33⅓ RPM. Includes one-sided insert.
"Sleepwalker's Conviction documents a 2014 performance by Oren Ambarchi in collaboration with a 20-piece ensemble conducted by Ilan Volkov and featuring members of the Adelaide Symphony Orchestra and Speak Percussion. Foregoing the rhythmic propulsion and distortion-saturated harmonics that have featured in much of Ambarchi's recent work, the LP's single 40-minute piece inhabits a hushed, almost static space of extended tones, percussive shimmer, and creaking strings. Rather than adopting the position of a soloist, Ambarchi allows his sub-bass guitar tones and swirling Leslie textures to blend seamlessly with the ensemble, made up of double basses, horns, and percussion. The group sound has a near-cavernous depth, as waves of low beating tones and distant percussive textures gently wash over one another, coalescing into an undulating mass. Steering clear of bombast and new music clichés, the result is a work of meditative beauty that touches on the haunted ambience of late Luigi Nono, the submerged sonics of Bryars's The Sinking of the Titanic, and the melancholy rituals of Christoph Heemann and Andrew Chalk's Mirror, while remaining unmistakably marked by the singular sensibility Ambarchi has developed over countless performances and recordings" --Francis Plagne. Design by Stephen O'Malley with cover artwork by crys cole. Vinyl cut made by Rashad Becker at Dubplates & Mastering, Berlin. Edition of 300.
2015 20th anniversary reissue of the two milestone releases that kickstarted the entire Mego/Editions Mego imprint and initial aesthetic in 1995. This deluxe reissue brings together the first Mego release, Fridge Trax, and the full-length album that followed, Live and Final Fridge, originally released on Source Records. Made by the founders of the initial Mego label, Peter Rehberg (Pita) and Andreas Pieper and Ramon Bauer (General Magic), these recordings are legendary in their execution. It was these pioneering releases, along with the earlier Warp and Sähkö output, that really pushed abstraction squarely into the formally safe realm of dance music. The results were among the most influential musical offerings of the period and the paths laid out have been traversed by many a sonic explorer since. Both the EP and full-length were made by placing microphones in a fridge to harvest the unusual microscopic sound-world within. The resulting hums, buzzes, flickers, and icy drones were then reassembled and reconstructed to make an assortment of tracks that range from rhythmic, ambient, and glacial straight on through to the downright bizarre. Fridge Trax is landmark release, a white good rearranged as awry ambience and freak funk. Written, produced, and performed by General Magic & Pita. Remastered and cut by CGB at Dubplates & Mastering, Berlin, December 2014. Artwork by Tina Frank. A1-B2 recorded October 1994 at Mego Studio, Berlin, and released as Fridge Trax (Mego, MEGO 001), May 1995; B3 recorded September 1995 at Mego Studio, Berlin; B4-C4 recorded live, 6 AM-7 AM, July 10, 1995, Interference Festival/Love Parade, Berlin; D1-D2 recorded October 1995 at Mego Studio, Wien; B3-D2 released as Live and Final Fridge (Source Records, CD 960125), June 1996.
Gatefold 180 gram vinyl version. The music of Sacri Cuori is a kaleidoscopic road trip through imaginary '60/'70s soundtrack music and post-folk sonics from Italy, Europe, and beyond. Sacri Cuori only half-jokingly call themselves the bastard children of Fellini. Their sound palette is defined by a moody, Adriatic twang, falling somewhere between the old-time dance music of their native Romagna and Lynch's Mulholland Drive; between Santo & Johnny and Ry Cooder (or Brian Eno). Of course Ennio Morricone and Nino Rota are also present, as are Riz Ortolani, Piero Piccioni, Piero Umiliani, Armando Trovajoli, and other maestros of Italian film music's golden age. Delone was crafted over two years in a series of sessions in which the band consciously stretched their identity. Core personnel Antonio Gramentieri (guitars and more), Francesco Giampaoli (bass and beyond), and Diego Sapignoli (drums and percussion) recorded the album with Francesco Valtieri (baritone saxophone), Denis Valentini (percussion, horns, and more), Christian Ravaglioli (keys and horns), and Enrico Bocchini (drums and percussion). While still primarily an instrumental affair, the album introduces the resplendent voice of Carla Lippis, the last Italian diva, whom Sacri Cuori met in Australia and brought back to her ancestral homeland (and language). She sings in both English and Italian. Other vocalists include French chanteuse Emmanuelle Sigal, Howe Gelb of the famed American cult band Giant Sand, and Adam Gladyszek (Snake Charmer). As always, Sacri Cuori is more like an enlarged family than a fixed ensemble, and other guests include Evan Lurie (The Lounge Lizards, soundtracks for Roberto Benigni's films) on keyboards, guitar pioneer Marc Ribot (Tom Waits), drummer Steve Shelley (Sonic Youth), and members of the Mexican Cumbia sensations Sonido Gallo Negro. While certainly beholden throughout to its Italian musical roots, Delone collides in unpredictable ways with a variety of global sound transmissions. The breathless rush of the surf-driven opener "Bendigo" cuts hard to the sultry romanticism of the second song "Una Danza," which in turn, slyly gives way to the nostalgic twang of "La Marabina." The album flows like this for the duration, brilliantly touching upon disparate sound-worlds that range from the pastoral ("Billy Strange") to the cosmopolitan (the Gainsbourg-influenced "Serge") to the classically pop ("Delone"). There is passion and adventure, excitation and sadness. There is a magnificent sense of wonder. Delone plays like a treasured notebook full of restless dreams and nostalgic sketches, all of it edited together like an old, suspenseful TV movie.
The aptly-titled Raw Materials sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known on his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt, and Roy Davis Jr., Raw Materials updates the form with modern production techniques while preserving its authenticity. The title-track eases us in, with dreamy vocals, dusty pads, and deep 808 beats. The two cuts of raw drum-machine clatter on the flip, however, take no prisoners, with strained vocal cuts on "'Ave That" and primal analog tones on "Jerk U Later."
Double LP pressed on 180-gram vinyl; includes CD. Returning to the full-length format after their acclaimed 2012 album Hotel Amour (KOMP 095CD/KOM 248LP), open band project Terranova (aka DJ/producer duo Fetisch and &ME) presents Restless, a finely tuned succession of excitingly straightforward house bangers, a brilliant study in gravitational pull, and a smooth blend of instrumental and vocal tracks created with the help of old and new friends. Guests on Restless include Cath Coffey, Lydmor, Bon Homme, Stereo MCs, and Mandel Turner. Restless was recorded from November 2014 through January 2015 in Berlin bedrooms and mixed in Keinemusik's Wedding studio. Opener "Tell Me Why" wastes no time with elaborate countdowns or some ambient pad dragging-on; starting out with the characteristic vocals from Stereo MCs frontman Rob Birch, the track immediately cuts to the chase with its pronounced rhythm section and a simple but sturdy bass. NY house agent provocateur Mandel Turner makes an appearance on proto-futuristic strobe manifesto "Underverse," while singer Cath Coffey performs on uncanny valley national anthem "Twisted Souls," again deploying her unique brand of anarchist logotherapy after her appearance on Terranova's 2014 Headache EP (KOM 296EP). Bon Homme aka Tomas Høffding takes a stand on "Restless Summer," a top-notch reimagining of "Endless Summer" from the 2013 Painkiller EP (KOM 262EP) -- less campfire and more wormhole, his lyrics take on an urgency unheard in the parent track. He also appears on "Skin & Bones" in a flawless duet with partner in crime Lydmor. From the sequenced beauty of "Goldilocks" to the intuitive mayhem of "Watch Me," the album is a quest for the outer rim of club culture, looking for habitable exoplanets beyond the main floor. This is most clear on the appropriately named "Kepler 186f," both a tribute to NASA's iconic Kepler project and a thrilling amalgamation of pounding drums and sharp synth stabs. The CD version of this larger-than-terrestrial-life journey finds a suitable conclusion in "Uchū No Inu," translatable as "dog in space": it's Terranova's executive producer, driving force, and guest vocalist Rocco (the choc labrador) who takes center stage here, lending his lyrical musings to a highly energizing cut and wrapping up the riveting listening experience that is Restless. An ideal sonic companion for dancefloors, living rooms, and space pods alike.
Angolan producer Alcindo Joaquim aka Afro DJ Pupo grew up tweaking beats on Fruity Loops, while other teenagers played soccer or went to the beach. His models included Boddhi Satva, Djeff Afrozila, Manoo, and Black Coffee. 23 at the time of this release, Afro DJ Pupo's respected work within the Ango house scene includes releases on Djeff Afrozilla's Kazukuta imprint and many remixes. Although influenced by American deep house and South African house, Angolan afro house draws its unique identity from its direct affiliation with the kuduro, or most traditional kazukuta and semba. This 12" includes a remix by Earl P.
Nicolas Jaar and Lydia Lunch reissue, for the first time, Lydia's classic early spoken word album C.O.W. (1990). Includes a remix of "Why, Why Was I Born An American..." by Chicago no wave figure Weasel Walter and Jaar.
Since 2012, the Sheffield-based producer Beneath has carved a steadfast reputation with an ascetic production technique, augmenting the dread and atmosphere of early DMZ dubs with the velocity of classic grime and bleep techno, and the haughty rudeness of early New York house, minting a distinct new sound which sent shockwaves through the scene, thanks to his now-legendary showcase mix for Keysound. Beneath's PAN 12" consolidates up-to-the-minute electronics and rooted dancefloor dynamics with incisive style and pattern. All four tracks are skeletal but big-boned rollers' riddims and masterful exercises in dancefloor pressure. "Bored 2" is rent with cattle-prod grime stabs and a show-stealing, radioactive bass roil, whereas the hunched, grimy rolige of "Occupy" is all about his shifty, idiosyncratic syncopation. "One Blings" cools out on buoyant subs with glass-cut electronic motifs standing miles out from his scene, and "Stress 1" trips out with restless drums and lucid electronics tessellating dipping rhythms with skin-prickling harmonic resonance. It adds up to the freshest mutation of accelerated UK dub/soundsystem culture, stoking an aesthetic extant since the first rumblings of Saxon Studio International and Coxsone in the late '70s/early '80s, through the forward-leanings of the contemporary UK sound in 2014, mapping the software timbres and possibilities of new technology to the timeless mantra of rudeboy dub proper, yielding maximum affect from optimized elements. Mastered and cut by Rashad Becker at Dubplates & Mastering, pressed on 140 gram white vinyl. Housed in a silk screened PVC sleeve with artwork by Kathryn Politis & Bill Kouligas.
Various Artists Compilation
Public Possession's first various artists compilation. Four tracks made for your pleasure. Reworked to be heavily used. Kicking off with the already notorious "Flyer Edit" by Samo DJ, featured in various mixes and high in demand, finally available on vinyl. Bell Towers takes over the controls to deliver another one of his Italo tools. Where does he get it from? Who knows. 100% rhythm in motion. Tamas Jones, half of the Australian duo Hey Convict!, re-does an underground classic. Your DJ bag is crying in joy! Tambien finishing things off with their dubbed-out version of a Dutch synthpop cut.
Presented in hand-made silkscreened cover. Limited to 450 copies. Artwork by Ruben Verkuylen. Traxx and Beau Wanzer team up for another Mutant Beat Dance release. Those who are familiar with the duo know they are out to push music into a different realm every time they collaborate... The Mutants call it jakbeat, inspired by the early days of house music.
Taboo: An Exploration Into the Exotic World of Taboo, Volume 1
Stag-O-Lee inaugurates its Journey to the Centre of the Song series, dedicated to celebrating one song at a time in its many guises and interpretations, with Taboo. The classic "Tabu" was written by Margarita Lecuona (also responsible for "Babalu," a classic as well), a cousin of the famous Cuban composer and pianist Ernesto Lecuona. "Tabú" (also recorded as "Tabou," "Tabu," and "Taboo") is a jazz and popular music standard that was first recorded by Cuarteto Machín in 1934 and later made popular by the Lecuona Cuban Boys (included here) and others. The aforementioned guises and interpretations span genres, represented here by Charles Blackwell Orchestra's upbeat surfstrumental shaker, the brassy exotic tones of Tito Rivera & His Cuban Orchestra, the Cumbian island sounds of Cyril Diaz & His Orchestra, Sylvie Mora's silky-smooth popcorn rendition, and versions by The Shangaans, Caterina Valente, and Frankie Trumbauer's Orchestra. Completing the record is Arthur Lyman's crazy voodoo lounge version that evokes visions of palm trees and sun-drenched white sand. Sit back and enter the intoxicating world of... "Taboo."
"The images were shot in New York between 2001 and 2002. It was during the time when we were still in shock from 9.11. The stars and stripes suddenly became visible everywhere in the city. Soon after, the invasion of Afghanistan started. Everybody was living under an indefinable fear -- not knowing what would happen in the future" --Aki Onda. Lost City started as a series of photographs shot by visual artist and composer Aki Onda in New York right after September 11, 2001. A decisively introspective response to a major world event, his pictures were devoid of direct references, but documented his immediate surroundings, focusing on how what happened resonated on a personal micro-level. Since 2005, Onda has been presenting this series as slide projections, which function as a visual score for improvisation, and performing with NYC avant-garde musicians Loren Connors and Alan Licht. The two improvisations on this LP were recorded at Anthology Film Archives in NYC in 2007. Lost City contains the vinyl, a folded 20 x 30 inch poster with the complete photograph series, and an A4 risoprinted booklet containing the accompanying text written by NYC-based curator/writer Niels van Tomme. The record's A-side is a duo piece between Connors and Licht that consists of wandering, buzzing guitar drones with occasional noisy eruptions. It highlights the almost twin-like connection between the longtime collaborators, with telepathic intersecting guitar lines and a sense of unease seeping through. The B-side is Connors's lyrical, atmospheric solo performance, equally sparse and spacious. Limited to 350 copies.
LP version. First reissue of this stunning, dark, mysterious instrumental 1972 work by Wilburn Burchette, mystery of 1970s experimental guitar music. In place of regular songs there are several layers of chord and melody patterns shifted upon each other, performed on a semi-distorted electric guitar with a strong echo effect. A few other instruments may have been used as well, but it's also possible that there are only electric guitars on this album. Even the oscillating buzz of "Transformation" could easily be created with a guitar and a few effect machines. Halfway through the tune the music knocks over into some very bright and jubilant guitar melody structures. The album as a whole has a krautish vibe, due to the repetitive layer-upon-layer structure of the compositions. It has an ethnic folk edge due to the use of Spanish and eastern folk harmonies. Burchette intended to create spiritual music to expands the listener's mind in a positive way, and bring the soul and body into a state of enlightenment. Global folk music surely had an influence on this guitar masterpiece, and even though there are many mood changes, from the obscure lairs of the ancient druids to the light-filled Celtic springtime ceremonies, this record really lifts the spirit and cleanses all stress, anger, and pain from it. Although it was not created in Germany, this album could be a typical experimental and even cosmic release of the krautrock scene from its era. The years from 1970 to 1974 saw quite a few similar releases. The closing track, "Realization," in particular, is a beautiful example of cosmic guitar music as it was produced only in that short period of time. It begins with some whistling fizzling buzz and then changes to a calm and mystical chord structure with strange echoes and spooky howls in the background. "Realization" slowly develops into a maelstrom that drags the listener into a musical black hole. Not as wild and heavy as the early Ash Ra Tempel albums, this piece could easily be a composition of guitar legend Manuel Göttsching. For fans of blues- and folk-based yet utterly freaked-out and dirty echo guitar music and cosmic sounds such as A.R. & Machines, early Tangerine Dream, early Kraftwerk, the aforementioned Ash Ra Tempel, Walter Wegmüller, or Gulââb.
Try Making Love (Al Kent Version)/Dancing (Roger Thornhill Edit) 12"