The Angelic Conversation
This is music that formed the soundtrack to Derek Jarman's long-form Super 8 film The Angelic Conversation (1985). This version is completely dame-free and features no Shakespearean sonnets. Many of these pieces exist here together and un-indexed as separate tracks. Eight tracks, 74 minutes.
Threshold Archives began as a project by Peter Christopherson in 2006. At the time, Peter was involved in many projects that consumed much of his time including Soisong, a re-launched Throbbing Gristle, and The Threshold HouseBoys Choir, in addition to assembling the final Coil album, The New Backwards, and the massive Colour Sound Oblivion box. With the passage of time, intercontinental moves, and record label bankruptcies, many master recordings and artworks were lost, damaged, or degrading. At the time of his passing in 2010, Peter had only begun to assemble artwork for Threshold Archives releases, but no project was completed. The music was scattered across numerous sources, including DATs, cassettes, Betamax masters, reels, and old computer hard disks with long-outdated and incompatible operating systems. Peter didn't have time to sort through and identify it all, so he sought help. Discussions and agreements were reached and the blueprints of Threshold Archives were made. Through the efforts of former Coil members, friends, and family, these collections are finally materializing. The quality of these recordings varies greatly, as does the artwork that was available. Additionally, many previously unreleased songs have no titles available. Coil was Geff (John Balance) and Peter (Sleazy), who presented Coil as a complete experience; song choices, mix, order, cover artwork, layout, live visuals, costumes, guests, etc. Without Balance and Sleaz, there is no official Coil release nor will there ever be again. Nothing that bears the word "Coil" is authorized, official, or sanctioned by Coil as Coil has ceased to exist.
How can we explain the power of music? How can songs delivered in a language that we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late '70s and early '80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udon's thrilling voice. With two songs previously unavailable on CD, as well as her first recording and her biggest hits, this is essential. Includes 20-page booklet. Selection, liner notes, and cover art by Soi 48.
The Ale's What Cures Ye by United Bible Studies is a compendium of traditional and modern folk songs as interpreted by the band and inspired by Folkways. United Bible Studies in The Ale's What Cures Ye are David Colohan (Raising Holy Sparks), Michael Tanner (Plinth), Áine O'Dwyer, Nicholas Palmer, Alison Cotton, Richard Moult, Louise McGrath, and Sharron Kraus. Mixed by Michael Tanner; mastered by Patrick Klem; sleeve by Lucy Duncombe. Edition of 300; includes download code. The record also comes with a booklet of words by the band members. Here are three extracts:
"Titled after the Black Sands of 'Sweet Streams of Nancy' and pieced together from the relative geographies of melodies found elsewhere on the album, 'Blacksands' represents, to my mind, the band as a whole -- waxing and waning between various members offerings and sewn together with a shared understanding of something more unified and ancient. Recorded in various parts of the English countryside and the Irish midlands."
"Dave brought the Litany to the table, and I was only faintly familiar with it from the Hart/Prior version. F.W. Moorman's paean to itinerant labouring hardships, the piece always conjured images of the families left behind in the search for pit work -- A concept which lead to the creation of a kind of coda, The Burning Sea -- with Alison Cotton's vocals from Ten Thousand Miles echoed here in an altogether different form... that of a distressed wife abandoned overseas, set against a scree of gradually deconstructed/decaying viola lines."
"Many's the tip Johnny Moynihan offered me regarding the songs I was singing whilst touring with him one Summer. Singing 'The Recruited Collier' exactly as Anne Briggs had done was one of them. However, on this recording, Nature intervened. The tide was fast approaching & in our haste, I sang 'take my heart' rather than 'break my heart'. Not only that, but I sang it twice, perhaps recalling Pavement's advice to repeat any mistakes you made so as to make them seem deliberate. With no room for second takes, we made good our escape from the smugglers cave & I swore to never haul a harmonium up & down a cliff face ever again."
Guitarist Bill Orcutt and drummer Jacob Felix Heule (Ettrick, Fred Frith, Sult) have been performing regularly around the San Francisco Bay Area since 2012, but this is their first release together. Recorded in Orcutt's living room in the early months of 2015 and named after a chain of Oakland coffee shops, Colonial Donuts collects 13 compact, stylistically diverse duets for electric guitar and drums, ranging from hushed, socially anxious folk to sprung electric blues to dense, pummeling free improvisation. Mixed by Frank Falestra at Dan Hosker Studios in Miami Beach; mastered by James Plotkin; designed by Bill Orcutt.
"Coruscating cut-ups yanked still dripping and yowling from the belly of the beast. Dazzling and invigorating, scary and discombobulating. 'Psychic driving was a psychiatric procedure in which patients were subjected to a continuously repeated audio message on a looped tape, in order to alter their behavior... often hundreds of thousands of repetitions of a single statement over the course of their treatment. They were also concurrently administered muscular paralytic drugs such as curare... The psychic driving procedure was a chronological precursor to Cameron's depatterning, involving massive doses of ECT combined with similarly large doses of psychedelic drugs like LSD. The intent was to break down the subject's personality -- theoretically psychic driving could then be used with some efficacy in establishing a new personality' (Hanson Records)." Originally released on cassette by Medusa in 2010.
Bali 1928, Vol. IV: Music for Temple Festivals and Death Rituals
Vol. IV of the Bali 1928 recordings includes kebyar with sung poetry, gambuh dance-drama, ancient ritual angklung, and solo flute. All lyrics receive English translations in the liner notes, with an extensive text by Edward Herbst included as a PDF (accessed by computer) and hosted online by World Arbiter. Performances by Gamelan Gong Kebyar Belaluan, Denpasar; Gambuh of Sésétan, Denpasar; Gamelan Angklung Kléntangan of Sidan, Gianyar; Gamelan Angklung of Pemogan, Denpasar; Gamelan Angklung of Banjar Bun, Denpasar; and Suling of Ubud, Gianyar (I Klingéng Buta and Ida Bagus Pegug).
Incredible psych-groove soundtrack by Peppino de Luca (known for his collaboration with the library music band I Marc 4 (SME 006LP)) for the Italian cult movie La ragazza con la pistola (The Girl with the Pistol) (1968), directed by the legendary Mario Monicelli and starring Monica Vitti. The film was nominated for the Academy Award for Best Foreign Language Film in 1969. This is the first vinyl reissue of the complete soundtrack. Pink and black vinyl; edition of 1000.
Behold, a cultishly coveted slab of freeform new wave dance/tape music from 1984 Madrid, Spain, reissued by Andy Votel, Sean Canty, and Doug Shipton's Dead-Cert label. Notable not only for including Beppe Loda's Typhoon favorite, "La Edad del Bronce" -- which sounds uncannily like a cut from Craig Leon's Nommos (1981) -- this album also features the beguiling concrète funk of "Galilea: Centro de Datos," which, by any measure, bears a striking, prototypical resemblance to Photek's "Ni - Ten - Ichi - Ryu" and has become something of an oft-asked-about staple in Dead-Cert's polysemous, polymetric DJ sets. Founded in 1978, Mecánica Popular was the brainchild of Luis Delgado (also a member of Finis Africae) and Eugenio Muñoz, conceived and nurtured during after-hours sessions in Madrid's Estudios RCA using exclusively tape loops -- no samples involved. They did, however, use an innovative set-up including a Polaroid 600 camera, an Eventide H910 Harmonizer, and an ARP Odyssey, all fed thru a matrix of FX to make a wonky, clanking sound that could be happily compared with the output of Conrad Schnitzler, Chris Carter, Jon Hassell, or Kerry Leimer during that fertile early-'80s era. For the DJs and post-punk fanatics, this one way is just too good to miss out on. Edition of 500. Cut at Dubplates & Mastering, Berlin.
Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War
Legendary collector Joe Bussard is putting records out once again! After running the last 78-RPM label in the US (RIP Fonotone Records, 1956-1974), Bussard had relegated his efforts to promoting old-time music by making cassette tapes for people hungry to hear his rare treasures and producing his Country Classics radio show for stations in Georgia, North Carolina, Tennessee, and West Virginia. But in 2014, Bussard and his daughter Susannah Anderson had the idea to produce a compilation of Civil War tunes; they rang the office of Dust-to-Digital to gauge interest in distributing such a compilation. It was an easy decision for DTD. CD in digipak with 36-page booklet. Includes introductory essay by Kevin Fontenot and liner notes by Tony Russell. Includes tracks by Ernest Stoneman, Blue Ridge Mountain Singers, Grant Brothers & Their Music, Red Mountain Trio, Buell Kazee, G. B. Grayson - Henry Whitter, Ward & Winfield, Chubby Parker & His Littleold-Time Banjo, Da Costa Woltz's Southern Broadcasters, Capt. M. J. Bonner (The Texas Fiddler), Cherry Lane Express, Henry C. Gilliland and A. C. (Eck) Robertson, The Foreman Family, Asa Martin & James Roberts, McGee Brothers & Todd, and Fiddlin' John Carson & His Virginia Reelers.
Prins Thomas tips his cap to Paradise Garage, the original New York nightclub, with this three-disc compendium, a marathon adventure into his ingenious and groundbreaking style mischievously titled Paradise Goulash. One of Norway's most renowned musical exports, Prins Thomas has fashioned a fresh direction for dance music. As with his peers Todd Terje, Hans-Peter Lindstrøm, and some of Oslo's legendary characters like the mysterious DJ Strangefruit, he has created an ongoing global fascination with retro-futurism and cosmic oddities. He indulges heavily in his unending eclecticism on Paradise Goulash, each disc gently wandering through his musical mind with tracks from Robert Hood, Actress, Marcellus Pittman, Young Marco, I:Cube, Hieroglyphic Being, and many more, as well as wholly obscure material unlikely to have been heard before. Also includes tracks by Turns, Gábor Szabó, Brian Bennett Band, Aqua Bassino, Claude Speeed, Sun Araw, Richard Schneider Jr., Mistral, The Durian Brothers, Zazou Bikaye & CY1, Berliner Ring, C Cat Trance, A Split - Second, TM404, RVDS, Len Leise, nsi., Wally Badarou, Jan Akkerman, Bjørn Torske, Son.sine, Hakimonu, Donato Dozzy & Tin Man, Forever Sound, Odd Numbers, Dreamatic remixed by Enzo Elia, SW., Pev & Kowton, Joachim Holm & Alejandro Mosso, Abdulla Rashim, Dirty Jesus remixed by RV Cock, Marcos Cabral, Box Saga, Les Big Byrd, Ü, Petar Dundov, Louis Haiman, Evigt Mörker, Morphosis, Sebbo remixed by Moritz von Oswald, Luke Abbott, Ricardo Villalobos, Zadig, Stefan Vincent, Blacknecks, Siriusmo, Il Guardiano del Faro, Johanna Billing, Krater, and Kurt Vile.
LP version. Includes insert with liner notes. In May 2013, at a nondescript Seattle space called 1927 Events, two-thirds of Magic Mountain High -- Germany's David Moufang aka Move D and the Netherlands' Jordan Czamanski of Juju & Jordash -- teamed up for the kind of live performance during which you say to yourself, "I hope to hell somebody's recording this." Thankfully, somebody was doing just that, and the 99-minute Live in Seattle is the sterling result. People throw around the word "deep" to describe electronic music with cavalier frequency, but in the case of Moufang and Czamanski (who also records as Jordan GCZ), that adjective barely encapsulates the kind of fathomless sound they create. Live in Seattle captures them working at the zenith of their improvisational powers for a rabid crowd. The show begins with anticipatory cymbal taps and a beautifully morose melodica motif that wouldn't sound out of place in an Ennio Morricone soundtrack. A few minutes in, faint pulses enter earshot and a minute later the clap-enhanced beats and synth-bass burst into the forefront to form a strutting mid-tempo rhythm with a subliminal drone swirling beneath it. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, especially that underlying keyboard drone, until you're in a state of panic and ecstasy. Over the course of the set, the two producers flaunt their expertise for pacing. They avoid the obvious and subvert expectations throughout the performance, sporadically letting the beats drop out in order to luxuriate on a particularly alien organ oscillation, a sinister bass rumble, an ominously pulsating synth, an unsettling thumb-piano motif, or a mind-warping 303 acid ripple, to name just a handful of examples. Of course, Moufang and Czamanski also keep things danceable for stretches of time, and about 78 minutes in, they even shift out of their foundation of oddity and into heavenly techno mode with a gloriously ascendant melody. For their well-deserved encore, Moufang and Czamanski reprise the intro's mournful melodica reverie and then infiltrate it with a series of percolating and disorienting bleeps and a celestial drone worthy of new age legend Laraaji. This stellar ambient coda reflects Moufang and Czamanski's exceptional, eccentric musicality. Techno is not known for its live albums, but Live in Seattle sets the standard for the format, with its abundant, sublime tunefulness, textural richness, and enchantingly enigmatic tangents. Mastered by Rashad Becker at Dubplates & Mastering.
Felix Kubin delivers three masterpieces: "I Can't Sleep," an ode to insomnia; "Polarisation," two poles of Kubinski Dadaism; and "Taucher," which starts deep under the sea and struggles with full pressure and energy to the surface. "I Can't Sleep" features vocals by Giada Pesce. Mastered by Rashad Becker. Vinyl only.
Gatefold LP version. Includes CD. Legendary French record executive, talent agent, and producer Jacques Canetti recorded French singer Jacques Higelin's first disc in 1965, though their meeting dates back to 1954, when Higelin was 14 years old and was already singing Trenet -- at the time, Canetti refused to work with teenagers, whatever their talent. To celebrate the 2015 50-year anniversary of his career, the release of his 2013 album Beau Repaire, and a 2015 residency at the Philharmonie de Paris, Jacques Canetti Productions reissues his first album, with two bonus duets with French poet and vocalist Brigitte Fontaine.
Amor Fati (Peverelist Remix)/Tilikum (Hodge Remix)
Peverelist and Hodge remix tracks from the catalog of Livity Sound's dnuoS ytiviL label, preceding the 2015 dnuoS ytiviL compilation Reverse Vol 1. A pioneer of his own vision of the UK sound, Peverelist transforms Hodge's "Amor Fati" into a signature writhing mesmeric groove; on the flip, Hodge irons out Bruce's "Tilikum" into a booming, epic late-night tool. The Livity Sound label has been at the forefront of UK electronic music since its inception in 2011, pushing its distinct take on techno with sound system frequencies. dnuoS ytiviL has run concurrently, releasing music complementing and reflecting the core artists' output.
2015 reissue; originally released in 2003. The luminous piano playing of Translucence and the stunning extended reverbs of Drift Music (both originally released in 2003) form a double CD with new artwork by John Foxx. The music of Translucence has an intelligence, purity, and reserve, but it's also sensual and dream-like, a feeling that is stretched even further by the gorgeous Drift Music. "Really I'm Harold's apprentice," says John Foxx. "Along with Satie, he taught me almost everything I know about this kind of music. What you really look for -- that instant when something magical and mysterious crystallizes in the air. I always think of one moment working with Harold as the epitome of this. There's this track on Translucence called 'Spoken Roses.' I still play it and think -- I recorded that. It's Harold's music and I was lucky enough to be there to catch it from the air. It's a truly splendid piece, a direct and beautiful interplay between sound and performance. True minimalism is concerned with isolating something dignified and beautiful, presenting it without unnecessary additions, so you can fully appreciate it." Both artists are keen to do more work together, but, as Budd says, "I have no idea about what's coming up next. I suppose I should be concerned about that. I don't like counselling people to be blasé, because if nothing was happening for a long time it would be maddening, but I'm not there yet, so I don't know."
Double LP version. Includes CD. Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.
"Recorded during a recent trek to the Pacific Northwest, this session is very damaged by the post-tongue explosive devices packed by each of the quartet's members. Skittering along the most devious edge of improvisational madness, Greg, Greg, Bill and Mr. Shoup bring four chunks of deep underground moisture into the air for the first time. Let us make to examine them. 'Morning' greets the listener beneath a raucous grackle filled tree, mounting to a commuters' rage. Then along comes a mage with mushrooms, and the growl and rasp spreads out into what one must imagine a stoned rabbit's brain records from a dawn. In 'Separating a door from a window', Mr. Shoup's sax limns the wall of sound into permeable spaces. The horns and percussion throw up bramble hollers of humorous squawk, but in the end, Wally is triumphant. Like smoke snaking over the door, 'Transom' is a very present and seductive piece. If you are a programmer, this is an excellent sound experience to loop, as it is both loving and bossy. Horn and reed lead you into 'Nothing is deprived of its warmth,' and then gleefully pierce your eardrums with needles. Once the path has been cleared to your brain, molten notes are poured in and, like a Dead Head prostrate with his pipe, you become one with the universe. A warm universe. At first I thought it was weird they named this album after the lost book of Tolkien's Silmarillion. Now I'm not so sure." -- Lili Dwight/Byron Coley, Deerfield MA 2015
The Hurrah is the second recorded outing from the universe-shifting free jazz trio of Evan Parker, John Edwards, and Chris Corsano. This trio has been playing together since 2006, sometimes expanding into quartets with the likes of Noah Howard, John Russell, Joe McPhee, John Coxon, and Paul Dunmall. The material on this LP was recorded by James Dunn at Cafe OTO in London on August 22, 2014, during Corsano's four-night residency. All material recorded live; no editing or post-production. As raw and liberating as it was on the evening. Evan Parker: tenor saxophone; John Edwards: double bass; Chris Corsano: drums. All compositions by Evan Parker/John Edwards/Chris Corsano. Artwork by Dennis Tyfus. Mixed by Rupert Clervaux at Grays Inn Road, London. Mastered by Andreas "Lupo" Lubich at Calyx, Berlin.
Rhythms of the Pacific Volume 2
"Another critical sampling of Vancouver's evergreen dance music community. The A-side unearths two Canadian classics-in-waiting from Neo Image, with some dreamily broken garage and sparkling, heady ambience. Florist and D Tiffany split the flip -- low-key, breakadawn shufflers. Both sides are guaranteed to kick up dust on the dancefloor, and once again 100% CANCON certified!"
First vinyl reissue; originally released on CD in 1990 by Touch. "Through them, it is the volume of each word that becomes an 'objectsculpture.' The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores. In the power of voices and semantics, as well as in the severe body/mind combination, inseparable from each other, I find in Aurore a song of the bodies, indispensable to any sound values" --Henri Chopin. Penultimate Press presents the first release in a three-part series based around the four field-recording-based works made between 1990 and 1994 by the legendary French act Étant Donnés (brothers Eric and Marc Hurtado, born 1959 and 1962 respectively in Rabat, Morocco). Aurore opens the triptych and is made from ambient sounds collected like dew from nature. The gathered sounds were then used as a sound texture for the poems strewn among the field resulting in a single entity of arresting sound and text. Aurore is focused around an alchemical fire/water battle, this water which does not wet the hands. Aurore shares some convulsive movements that establish a link with Étant Donnés's earlier works, for instance that exuding scream, worthy of the one Artaud uttered in his legendary 1947 radio program Pour en finir avec le jugement de Dieu. Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art: to create one's own ritual and, being one's own referent, to become a vibrating point in the cosmos and be receptacle for natural energy, in the heat of the sun in an attempt to merge with the Whole. Aurore comes remastered and repackaged in a high-gloss sleeve with fully printed high-gloss inner sleeve, in a limited edition of 500 copies. It remains an extreme and beautiful sonic journey sitting outside of time. "Listening to Aurore, our two actors' record, undoubtedly owing to the influence of the Mediterranean cradle, single umbilical cord of two great religions, the influence of both Latin and Arab worlds -- Gaelic short and long sounds can sometimes be perceived -- since their dictions are such a synthesis of several origins. Any true sound poetry is shattering, the really oral one is there in space, with the plus of the media machines, of the voices that slip through them, overwhelming them with the splendor of the bodies." --Henri Chopin
Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, Hey Colossus has since grown at a rate spectacular to observe. Yet from the nightmarish murk of early driller-killer works such as 2004's debut Hey Colossus Hates You and 2008's Happy Birthday (REPOSE 018CD) to later nuggets of perversity like 2013's Cuckoo Live Life Like Cuckoo (MIE 018LP), this beast has mutated and evolved into something uncommonly alluring. The six-piece London-via-Somerset troupe began 2015 with the release of In Black and Gold (LAUNCH 077CD/LP), on which the brawny repetition-driven raunch upon which they built their sound was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Still not content, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault. Radio Static High is the sound of a confident outfit honing their attack to become a veritable force of nature. With the band citing -- tongue presumably in cheek -- inspirations as diverse as Jane's Addiction, Fleetwood Mac (Tango in the Night-era), and Cypress Hill, they constructed songs a fierce rate, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time. Songs took shape from demos, exchanged riffs, and drunken text messages alike -- one such of the latter from guitarist Bob Davis to guitarist Jonathan Richards demanding an homage to Neil Young's "Cortez the Killer" resulted in a demo to that effect a mere 20 minutes later, which eventually became album centerpiece "Memories of Wonder." Elsewhere, "Hop the Railings" takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions. With all the bulldozing primal drive of heavy AmRep-style rock and none of the clichés, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What's more, Radio Static High, in all its sun-kissed widescreen glory, is set to leave most all their contemporaries eating their dust.
2015 repress. Room40 presents the vinyl edition of this classic Ben Frost album from 2007. Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with Steel Wound, he makes a bold statement of intent. Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003, Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become Steel Wound. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold -- one that very much reflects the isolation of the environment where the tracks were created. Each of the pieces on Steel Wound is an epic journey, colored with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time -- a forgotten memory beautifully rediscovered in a moment of introspection. Vinyl cut by Lupo at Dubplates & Mastering, Berlin. Second Edition of 500 copies, comes in a gorgeous matte cello-glazed sleeve.
The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
Gatefold double LP version. The Z Records label, run by Dave Lee aka Joey Negro, is arguably the contemporary go-to disco label, and it was only a matter of time before Lee would delve into his vinyl vaults and pull out a selection of tracks inspired by the late-'70s Chic sound. "Back when I was listening to commercial radio as a music-mad teenager in 1979/80, their records were omnipresent on the airwaves... when one of their own songs just dropped out of the hit parade, it was replaced by a production for another act -- be it Diana Ross, Sheila & B. Devotion, or Sister Sledge -- it was a constant stream of hits. When I heard songs like Norma Jean's 'High Society' (a solo release from one of Chic's singers) blasting out my transistor radio, I knew straight away it was an Edwards & Rogers production... the playing and sound of both the guitar and bass was a giveaway, along with the precise vocal phrasing, rippling piano, and discreet string parts. If it was the 12" mix then the bass breakdown and slow instrumental build up in the second half of the record was also part of the blueprint. Generally, Chic songs eschewed ad-libs or long solos; the style is more defined with each instrument having an exact placing -- including the vocals. Records like 'Good Times' and 'We Are Family' weren't just big club hits -- yes, they were massive on dance floors but they were also pop crossovers all around the world... even the rock guys I was friendly with (who generally despised disco) quietly liked Chic and admired their rock solid playing and grooves. I guess the best music has this universal appeal... The only track on here Edwards and Rogers were behind is Odyssey's 'Together,' which is one of their more obscure productions... The only actual cover is from Charanga 76 who released an album in 1979 which featured several raw, Latin disco-style Chic reworks, of which their 'Good Times' was perhaps the best -- otherwise, the likes of Delegation's, Van Jones's, and Michael Zager's are original songs, not pastiches -- just simply great music inspired by Chic's blueprint. Hope you enjoy" --Dave Lee aka Joey Negro, August 2015.
Electroacoustic musician WSR is focused on the contrast between acoustic music and synthetic rhythms, and the manipulation of the source via tape and electronic means. Emanuele Porcinai's research and experimentation mainly concerns aural architecture and natural reverberation, and the creative use of these in compositional practice. Following his performance on the main stage at the 2015 Berlin Atonal festival, Porcinai presents his debut for Sam and Hayley Kerridge's Contort label, marking the label's fifth release with four pieces of truly original work that crosses boundaries between industrial, techno, classical, and more. Mastered and cut by Matt Colton. Artwork by Anthony Gerace. Edition of 500.
The Ale's What Cures Ye: Traditional Songs from the British Isles Vol. 1 LP
Rhythms of the Pacific Volume 2 12"
Forward to the Past 3 (EP 1) 12"
Bali 1928, Vol. IV: Music for Temple Festivals and Death Rituals CD
The Ultimate Acid Dreams Collection: US Psychedelic Punk 5CD BOX
Baião de Viramundo: Tribute to Luiz Gonzaga CD
Gaslight, NYC, Sept. 6th, 1961 LP
Watch This! Dubbing at Tuff Gong CD
Chante Vian et Higelin LP+CD
The Angelic Conversation CD
The Consequences of Raising Hell CD
Audio, Video, Disco 2LP+CD
Joe Bussard Presents: The Year of Jubilo - 78 RPM Recordings of Songs from the Civil War CD
Sunday Girls (Director's Cut) CD
Le Freak: Music Inspired by Chic 2LP
Rhodes Inspirational: From East to West CD
Words Unspoken, Acts Undone CD
How Far Will You Go? The S&M Recordings 1973-81 LP
La Ragazza con la Pistola LP
Cultural Death: Music under Tyranny CD
Translucence/Drift Music 2CD
Waving Memories - Live in Chicago 1975 CD
Amor Fati (Peverelist Remix)/Tilikum (Hodge Remix) 12"
Bump Lam Phloen: Essential Hongthong Dao-udon CD
Que Sucede con el Tiempo? LP
The Papermoon Sessions: Live at Roadburn 2014 CD
Live at Roadburn Festival 2014 CD
Face Disappears After Interrogation 12"
Exhibitionist 2 (Part 2) 12"