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LP
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COSMR 023LP
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A late '60s Japanese compilation investigating the so-called "group sound" movement. Includes early recordings by a series of musicians later to perform with legendary bands such as the Flower Travellin' Band, Speed Glue & Shinki, Les Rallizes Denudes, and Foodbrain. Featuring Golden Cups, Dynamite, Outcast, Carnabeats, Tempters, Beavers, Bunnys, Mops, Spiders, D'Swooners, Zoo Nee Woo, Fingers, Outcast, and Bunnys.
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LP
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2MR 023LP
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2016 release. This will mark the first time all of these tracks will be available on vinyl -- previously they could only be found on cassette or download. Further, the album features an unreleased track from Cringe Machine. An interview of Harsh Riddims' Ryan Parks by 2MR's Mike Simonetti (and vice versa) make up the liner notes. Harsh Riddims started a few years back. Their first release was a compilation tape featuring some of their best friends. Stefan Ringer (REKchampa), Drew Briggs (Divine Interface), and Matt Weiner (TWINS) lives in Atlanta. B L A C K I E is good friends with Negashi Armada (Bluntfang). Negashi suggested asking him for a track, and he turned in "It's hot livin n' tha south". About a year ago, they released the second compilation. This record is a mix of the two, featuring a few unreleased tracks. Love Letters is Parks's friend Maxime Robillard, who lives in New York City. ThinkThrice is a kid in Atlanta that ordered one of Stefan's tapes. WGM is Gavin Mays out of Memphis. He also produces as Cities Aviv. Cringe Machine is Parks's good friend Justin Bauman. Lastly, Co/Coaches is one half of Coco and Clair, Taylor Nave. She's such a talented song writer and performer. Also features RAMZi.
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LP
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MR 023LP
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180-gram vinyl; remastered for this reissue; presented in facsimile gatefold sleeve. "Delayed due to their unusual and ill-fated relationship with the Polar label, Cancer Moon's second album arrived in 1992. The dubious dealings of their previous company had significantly increased the band's prejudices with regards to the music industry. The intimacy of the bubble in which they lived triggered their suspicions towards label owners, bigwigs and anyone who tried to intervene in the nourishing and destiny of one of their children, their songs... band members Jon Zamarripa and Josetxo Anitua took charge of a quick and cheap production work in which they sacrificed the bigger clarity of their previous album for a meatier sound. That sonic hyper rawness stressed the idea among music journalists that Cancer Moon were the fathers of Spanish noise. But they weren't such thing, or at least they weren't aware of it. The truth was that Zamarripa was that type of instinctive and visceral guitar player, more magical than skilled, who had been brought up on mid-70s proto-punk. He would create a tangled mess when playing which was utilised on this album more than ever before, which resulted in that sonic wall that somebody described as noise. Listening to the album again, I'm especially surprised that the overused psychedelia tag comes to mind more than I remembered, a lot more than with their previous and next records. Even though I used to roll up joints for them while they were crafting these songs at Zamarripa's house, I didn't remember them sounding so trippy. And as memory often traces coherent connections, I've automatically remembered delirious listening sessions at night with Jon and some other friend when we would inevitable end up playing Screaming Trees lying on the floor, when our bodies had given in to the weight of the night, and we would float away night after night thanks to their hypnotic rock. Although we liked the whole Seattle sound and loved Mudhoney, our favourites were always the Trees, whom you'll clearly recognize in these grooves. And forgive me for daring to make a comparison to such a unique band, but even in the moments when Cancer Moon sounded more similar, they always produced a distinctive element, which was Josetxo's wonderful voice: powerful, persuasive, in total symbiosis with those contortionist guitars which were such a feature of the album." --Fernando GegĂșndez
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