Aguirre Records present a reissue and the first vinyl release of James Ferraro's Rerex, originally released in 2009. James Ferraro is an experimental musician, composer and virtual atmospherist born in Bronx, New York. Ferraro has released material under a wide array of aliases, and was a member of the Californian two-piece avant-garde project The Skaters. His album Far Side Virtual (2011) was chosen as "Album of the Year" by the UK's Wire Magazine in 2011. Ferraro has been producing small runs of releases on cassette, CD-R, and VHS with a wide variety of styles all representing different dreams of a demonic mind tower spanning from freak flesh bodybuilder atmospheres to ambient modern world/psych. First on New Age Tapes and later on MuscleWork Inc., self-run cassette/CD-R labels primarily used for releasing small runs of his solo work. In the summer of 2009, Ferraro composed and recorded the "Summer Headrush Series" in Antwerp, Belgium for Musclework Inc. The series is loosely based on visualizations that came to mind while receiving self-induced hypocapnia (aka, choking oneself) or as it's commonly called "free fall". The albums being representatives of the free fall head space. Other albums from the Headrush Series are: Body Fusion 1 and 2, iAsia, Wild World, Son of Dracula and Hacker Track. The Rerex album is vintage hypnagogic Ferraro and with its length (almost three hours), it may be considered a "magnum opus" of his. Using cheap casio keyboards, loops, effects and difficult to trace samples, Ferraro creates a slightly haunting but oh-so beautiful musical world. Please use headphones for a dynamic HD headphone experience. Artwork by James Ferraro. Mastered and lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering. Lay-out by Jeroen Wille. Edition of 500.
"For the last decade, Belgian guitarist Bram Devens has been releasing solo recordings under the name Ignatz. A couple of cassettes have come out in the States, but most of his releases have been elusive imports. Thus, we have taken it upon ourselves to do a public service and release a domestic version of an LP that will appear on the (K-RAAK-K) label in Belgium. This must be something like the sixth or seventh studio album Ignatz has cut, and it's a remarkably solid slab of mysto-folk/blues invention. There are more vocals than noted on previous Ignatz slabs we've encountered, and they manage to remind us of everyone from early Townes Van Zandt ('The Watertower') to Karen Dalton covering 'Play with Fire' ('People in This Town'). The way Bram's voice lazily combines with the loose guitar playing sometimes makes the album sound like a mutant hybrid of early Jandek and mid-period Hurley. The rhythms and melodies go in and out of focus with a beautiful irregularity that demonstrate them to be the work of a true original. Playing what sounds like a mix of acoustic and lightly amped guitars, Ignatz hits Krazy Kat square in the bean with this one. And we all see stars. Tell Officer Pup the news." --Byron Coley, 2016. Limited edition of 500.
Acid Mothers Temple - the next generation begins! With the departure of long time bass/drum duo Shimura Koji and Tsuyama Atsushi, AMT now have a new rhythm section featuring two young Japanese musicians, Satoshima Nani on drums and S/T on bass. Thus, Wake To A New Dawn of Another Astro Era is the first record in the second chapter of this legendary Japanese psychedelic rock group. Wake To A New Dawn Of Another Astro Era finds a rejuvenated Makoto Kawabata encompassing the best of what AMT has come to mean in the last twenty-one years. Deep ambient synth passages fade into deftly composed anthemic jams worthy of crowd favorite status like "La Novia" and "Pink Lady Lemonade". Makoto's guitar prowess reaches unfathomed apexes in epic crescendos while the new rhythm section holds down heavy Kraut-influenced repetition. Straddling the line between composition and improvisation, this is a legendary AMT record for sure. Features light show artwork by LiquidbiupiL. Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were: Kawabata Makoto : electric guitar, acoustic guitar, fretless bass, bouzouki, electric saz, sitar, synthesizer, electronics, tape, short wave, voice, speed guru; Higashi Hiroshi : synthesizer, noodle king; Tabata Mitsuru: electric guitar, guitar-synthesizer, acoustic 12 strings guitar, tape, voice, maratab; Satoshima Nani : drums, another dimension; S/T : bass (on "Meridian Dimension ~ Lost Milky Way"), space & time. Produced and mixed by Makoto Kawabata.
The Woman At The End Of The World (A Mulher Do Fim Do Mundo)
LP version. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
A legendary recording that pairs Don Cherry's heavenly trumpet stylings, Terry Riley's psychedelic/minimalist organ work and the vibes of Karl Berger in a great live concert recorded in Koln in 1975. Riley is in stunning form playing the kind of endlessly rippling dosed organ drones with a sense of stasis in expansion that is uniquely brain-razzing. Cherry's playing is heart-stoppingly beautiful, curling slow, melancholy arcs and threading high angel tones through Riley's electronic matrix. A great document of a key moment in the history of minimalism music and a beautiful combination of great artists. 180 gram vinyl. Edition of 500.
180 gram vinyl. Remastered sound. Released 500 copies. Italian funky library monster from the infamous Fonit Usignolo series. Ust 370 - Caratteristici Vari contains many outtakes from the Inchiesta jam reissued in 2013, so it was most likely fully recorded in 1977. "Foggy Place" easily explains why this album is on top levels, hip hop funky with scat vocals. 20 tracks of several score and various themes, jazz-funk and funky vibes all over, Fender Rhodes and sexy scat vocals, bossa, easy listening, blues jazz, Hammond funk, tense cinematic and lively groovy vibes for the full album. Killer!
75 Dollar Bill, a project by Che Chen and Rick Brown present Wood/Metal/Plastic/Pattern/Rhythm/Rock. "Che's interest in the Arabic modes of Mauritanian music has marked our sound quite a bit but I have brought some things, too. The plywood crate I play is a big factor, defining, by its positive qualities (a nice warm 'boom' sound) as well as by its simplicity, what we're likely to do in the percussion realm. Wood/Metal/Plastic/Pattern/Rhythm/Rock, this new record, differs quite a bit from the previous one, notably in the rhythmic 'tone.' Wooden Bag (2015) was all forward momentum, stomping and shaking, but the new record explores a long-standing interest of mine: odd and 'compound' meters. In most of my previous musical activities, I've convinced my partners to delve into this, but in 75 Dollar Bill it has just felt natural and I believe Che's modal investigations and melodic/harmonic tendencies enhance (and are enhanced by) this combination. The current record differs from the last in another big way: reinforcements! Over our few years together, Che and I have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who don't all appear on this record but here we are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capp's Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxville's Give Thanks) on floor tom. Please enjoy Wood/Metal/Plastic/Pattern/Rhythm/Rock. 'Earth' saw is one of our earliest tunes and, I think, the first result of this 'compound meter' approach. It's a slow 9 beat phrase Che came up with for this odd groove. 'Beni Said' has no fixed rhythmic cycle but a roughly unison melodic phrase and a pulsing, loose feeling of 3s and 4s played using a box full of bottle caps. 'Cummins Falls' features Carey Balch on Diddley-beat floor tom and me reprising the maracas. 'I'm Not Trying To Wake Up' is another of our compound meter songs, this one using an 18 beat scheme." - Rick Brown
New England's Lee Tindall has been a mainstay of the noise/electronic scene for some time. Working as Zerfallt and Belarisk, and in a variety of groups (including Astronaut with Daniel Lopatin), Tindall has been perfecting what he calls "Hy-Fy mutant music" for a decade, working on the fringes of a sound that has slipped in-and-out of focus. Moments In Shapeshifting is Tindall's most fully-realized release to date, bringing together his interest in abrasive noise, abstract electronics and haunting ambience. It follows a long spell in a maze of his own confusion, navigating the labyrinth of corporate tech support, hell-to-reach, complete mental and physical exhaustion. The tracks came together from vivid dreams and nightmares during this time, as Tindall embraced the negativity of the New England mindset, crafting the songs as an escape or moment of clarity. Referencing '80s sci-fi and body horror, the album concerns itself with duality, betrayal and paranoia - many of the tracks have more than one title and some pivot mid-way through, shifting focus and transforming completely. As Tindall fixated on dreams, surrealist art and fiction, the nature of rural New England landscape gave him something tangible to reflect on, and the result is a beguiling collection of tracks that flow into each other without fixating on a certain genre or other. At times reminiscent of Tim Hecker's dense ambience and at others closer to M.E.S.H. or Oneohtrix Point Never, Moments In Shapeshifting offers an enticing distortion of reality - a cracked mirror for us to gaze into and obsess over. It might be the most human electronic record of the year. Mastered and cut by Matt Colton. Edition of 500.
In March 2016, Anton Newcombe gathered Dan Allaire (drums), Collin Hegna (bass), Joel Gion (tambourine), Ricky Maymi (guitar), Ryan van Kriedt (guitar) together in his Berlin studio to record the two tracks on this 10". "Bout des doigts" features vocals by Friederike "Rike" Bienert; "Fingertips" features vocals by Tess Parks. Through all of The Brian Jonestown Massacre's numerous "ups and downs" (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe.
Jürgen Karg began his music career in the 1960s as a bassist for German jazz legend Wolfgang Dauner. It was not until the 1970s that he switched his attention to electronic music, launching himself wholeheartedly into exploring the genre and building up an extensive collection of synthesizers over a five-year period. His efforts culminated in the 1977 Elektronische Mythen LP, a mighty opus of experimental music that reveals new aspects every time it is played. This is its first reissue. The technology of the system Karg had constructed, based on sequencers and four EMS synths, was state of the art for the period and promised endless variations. But this in itself came at a price; operating such a complex system posed a serious challenge to the artist, which Karg had to face all by himself. EMS systems like this were few and far between, not least because of the expense of putting the whole thing together. Hence there was little chance to compare notes with other music makers. "The track 'Die versunkene Stadt' predominantly features material from my earliest attempts at digital signal processing, you can clearly hear the sheer diversity of sounds at play," Karg explains in the liner notes. "Usable musical results were saved on tape, in some cases edited later and then mixed with the aid of several variable speed two- and four-track tape recorders and an 8-track machine." Indeed, one finds oneself listening to a highly concentrated collage distilled from years of sonic exploration. Waves swell and stand, sample-and-hold cascades blubber, bells jingle, and wonderfully slow layers loop recursively, changing their tone over a period of minutes. There is a decidedly warm and organic quality to most of the sounds -- at times sounding remarkably like piano and electric bass -- while original synthetic sounds reappear over and over in the collage. On "Vollmond Selene" Karg worked primarily with permuted sequences of ring-modulated sounds. If the music he made with Dauner was upbeat and revved-up, then Elektronische Mythen is anything but. Quite the opposite. Jürgen Karg's music is deeply serious, as vexing as a jamais vu, yet absolutely beautiful. Elektronische Mythen is an album that fits like a puzzle piece between Wendy Carlos's first and second versions of her soundtrack for A Clockwork Orange (1971).
Activity is the second album from Sydney trio Holy Balm. Already much-loved for their mutant, free-form house, Holy Balm give their most direct nod to the dancefloor yet on Activity. The pop hooks of "Fashion", the up-beat laments of "All Night Long" and the wayward rattles of closing track "Dancing Gravy II" harbor echoes of their 2012 debut, It's You (2012), but Activity is purpose-built for movement, bouncing subversive gestures off a brighter, bolder dance veneer. The band - Anna John, Emma Ramsay and Jonathan Hochman - list the themes of the album as "managing, sustaining, being energized by and connecting to your community through activity." These kind of urges can be draining for any artist/performer, but they are also essential to lasting, life-enriching creativity. Holy Balm triumph via transcendence, movement and fun, with the album's very title suggesting how best to listen to it - dancing in the bedroom, creating in the studio, sweating in the club, or just moving. Activity was engineered by Jonathan and produced by the band entirely in-house, with featured guest Marcus Whale (Collarbones) playing saxophone on "Fashion". Cover art, by Sydney artist, friend and long-time listener Robert Pulie suggests the phonetic/symbolic play of hand-painted commercial signage and visual communications - mouth, body and environment. Holy Balm on the album: "We think Activity blends our biographical voice with dance music tropes such as closeness, atmospheric changes, and personal empowerment, solidifying our sound. It's a dynamic space of play and experimentation that only just reared its head with the first album, but comes into its own on Activity". Holy Balm toured the US in 2013, have played the Sydney Opera House and the Sydney Biennale, and have shared stages with the likes of Ariel Pink, Boredoms, Nite Jewel and Maria Minerva.
Limited pressing, comes with a giant foldout two-sided 24" x 24" poster with additional art and liner notes. Conversation Sur Lettres Mortes is a conceptual album revolving around the relationship between Berlin's Jesse Osborne-Lanthier & Grischa Lichtenberger and the archaic apparatus of old cathode ray televisions and VHS units. It was first conceived as a live project for the Mutek/Elektra festival 2014 at the MAC in Montréal, QC Canada and now lands heavy on Cosmo Rhythmatic - the label curated by Shapednoise. Based on a series of conversations (excerpted in the liner notes) discussing the sets' obsolete status and the schism between tradition and trade, the A-side holds six cranky, skudgy and rhythm-driven creations framed by that familiar, ghostly, whining timbre of the cathode ray tube that would persist behind anything that was playing, or which would become distorted when you had to "tune" your set using baffling arrays of fiddly knobs like some modular boffin, when all you wanted was to watch some garbage without "snow" or streaking lines across the monitor. However, a few samples of dialogue aside, it's not a mere exercise in nostalgia; rather Osborne-Lanthier and Lichtenberger find strange, synesthetic life in these old and somewhat magical analog machines, working their spectral resonance and crankiness into creaking, contorted and deconstructed patterns that evoke a more contemporary sense of temporal dislocation. The remixers all seem to relish messing with the material, too. Low Jack offering a screen-scrambling flux of hellish sound-imagery ruffed-up with footwork rhythms and harpy and a Cronenberg-ian sort of body horror. Gabor Lázár's patented streaking filaments recall the sound of a set rapidly flicked on and off, marking one of his strongest, layered solo pieces. Rabit really pushes the envelope with a hyper, tumultuous stunner seemingly emulating an Einstürzende Neubauten live show. Mastered and cut by Matt Colton at Alchemy. Edition of 500.
Misanthrope CA present Deathbridge. Misanthrope CA is the black metal influenced formation by artist and photographer Robert Kulisek and David Lieske aka Carsten Jost, co-owner of Dial Records. After their first limited tape reedition Amerika (2015), Deathbridge is a full-length album recorded in the Hamptons, New York, in collaboration with the Oslo gallery "VI, VII". David Lieske always had a huge fascination for true black metal, reflected now in the wonderfully dark Misanthrope CA recordings.
Despite decades of activity and having crossed paths in various collaborations, this release presents the first-ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works that merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signatures of both O'Rourke and Fennesz cohabit this release, with O'Rourke's gurgling harmonies swimming among the shimmering frequencies and strummed melodies produced by Fennesz. The two tracks situate themselves as a warm electronic adventure; simultaneously radical and comforting, these works shift from gentle sonorities to fully distorted explosions, all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation, It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today. Recorded in Kobe, Kyoto, and Tokyo in September 2015. Photos by Jim O'Rourke. Layout by Shunichiro Okada.
Obas Nenor's The Ceaper Buing EP features four original cuts and a remix by Swedish Mr. Tophat that navigates somewhere between really weird, and really groovy. "The Doors" has a great filtered funk loop going on with some roughed-up disco percussion, whereas the Tophat remix twists the original into a tribal drum workout. "Glimpse of Light" has some really interesting sampling going on with an almost "rock" feel, but gets more disco with some lovely synth work. "Wakee" slows things down with a summery, Afro-inspired feel. "UV Lights" is perfect "hands-in-the-air" end of the night material.
Wareika Hill Sounds present Mass Migration. Two no-flim-flam, cross-border, dub-wise stompers - paired with masterful versions - from the veteran, Kingston-based unit led by the trombonist of Count Ossie's Mystic Revelation Of Rastafari and The Light Of Saba.
From a sporadic late-nineties outlet for the work of label founder David Sumner aka Function and his contemporaries, Infrastructure has re-emerged in the last two years as a busy and consistent platform for modern electronic music. Re-launching with a collaboration between Sumner and long-time colleague Ed Davenport aka Inland. In the two years following, the pair have orchestrated 10 vinyl releases, including a debut album by Techno anonym Post Scriptum, two singles from young avant-garde composer Campbell Irvine, a double pack reissue of classic acid pioneer-tracks from Mark Archer's Trackman guise, a crossover single by Cassegrain & Tin Man, and more. Both Post Scriptum and Campbell Irvine released their debut material on Infrastructure; discovering and promoting new raw talent is high on their agenda. Now Infrastructure introduces its next milestone, Infrastructure Facticity, a compilation featuring 15 tracks by key artists, label colleagues and new faces. Infrastructure Facticity represents the foundations of what Infrastructure stands for - a manifesto for 2016 and beyond. Function, Inland, Function/Inland, Campbell Irvine, Post Scriptum, Cassegrain & Tin Man, Rrose, Efdemin, Vatican Shadow, Silent Servant, Blue Hour, Steve Bicknell and Cleric all featured, spinning a narrative ranging from lush, ambient electronics and post-club diversions, to contemporary club techno and back again. Infrastructure regularly works with up-and-coming artists on cover artwork. Respected young Swiss artist Julian Charrière provided the iconic greyscale cover for Post Scriptum's debut album, and London based photographer Guy Archard's work featured on Campbell Irvine's Reunion of Two Bodies Maxi. Now the celebrated British fine-artist Robert NcNally has been invited to submit original artwork for Infrastructure Facticity. Selected by Jake and Dinos Chapman to show work at the prestigious Flowers Gallery in London, and commissioned by Damien Hurst to provide work for his private collection, Robert's incredibly detailed large scale pencil drawings are attracting serious interest in the modern art world. McNally's cover image was selected from a series of works based on adapted antique post cards. Its anti-establishment, censorship-related overtones are clear to see, as is the stark use of contrast - thick layers obscure the fading original, re-appropriating it.
"CD in gatefold sleeve with two 30 page booklets with essay. Sometimes, a documentary maker is present at precisely the right moment to capture lightning in a bottle. It happened with essential punk doc The Decline of Western Civilization, it happened with Dylan's Don't Look Back and Chet Baker's Let's Get Lost, and it happened with 1976's Heartworn Highways. The iconic performance documentary saw filmmaker James Szalapski travel to Texas and Tennessee to capture the radical country artists reclaiming the genre via an appreciation for its heritage in folk and bluegrass and a rejection of the mainstream Nashville machine. Townes Van Zandt, Guy Clark, Steve Young, David Allan Coe, Steve Earle and many others appeared on both screen and soundtrack, where musical highlights include Clark's brilliant 'Desperados Waiting For A Train', Young's stirring 'Alabama Highways' and Van Zandt's emotional 'Waiting Around To Die'. The hard living -- and hard partying -- lifestyles of outlaw country's figureheads are played out on screen as we visit Van Zandt's Austin trailer, see Coe play in Tennessee State Prison, join the gang in Nashville's notorious Wig Wam Tavern and witness a liquor-fuelled Christmas at Clark's house. No wonder the film's original tagline read: 'The best music and the best whiskey come from the same part of the country.' Outside of a couple festival screenings, the movie remained unreleased for five years after its completion, finally hitting screens in 1981 and finding a cult audience ever since."
2016 repress. "One of their harder to find and more perfect records. An absolute monster of a rocker. Killer high energy songs. Once again Dead Moon deliver a record of all hits with no misses. Pure as can be. Lovingly remastered by Timothy Stollenwerk."
With Spinner EP, Flanger continues to explore a techno-infused notion of nuclear jazz. The three-track EP contains arguably destructive synths on "Spinner", an insane 5-beat derived from the Flanger's "Spin" off of their 2015 album Lollopy Dripper. Both the 12 minutes lavish groove-intricacy "Loose Joints" and the one, straight tittle titled "It From Bit" are Atom TM & Burnt Friedman 2016 originals, adding to the most compelling and witty electronic collaborative utterings to date.
Wake Up You Vol. 1: The Rise & Fall Of Nigerian Rock Music (1972-1977)
"The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela Kuti to stardom after the conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. This 'standard' 2LP set follows the now-OOP Record Store Day edition. It comes with a download card with full audio and a 104 page digital booklet (as a .pdf) filled with never-seen photos and detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?; Brand New Wayo: Nigerian Boogie and Disco, etc.), with all tracks fully licensed from the bands themselves."
Paul St. Hilaire's soulful voice meets Rhauder's deep & dub inspired beats. Clear marbled vinyl.
LP version. Out-Sider present the first reissue of Homegrown (1982) by Cal. This is a totally under-the-radar US private pressing from 1982 with '60s and '70s influenced psychedelic hard-rock full of distorted guitar and freaky synths with some mellowed-out folky moments. Cal - also known as "Cal Rock & Roll" - was a band formed in the mid '70s in New York by some veteran musicians from the club scene. The band is made up of Larry Calabrese on guitar & vocals, Andy Barone on bass, Jerry Joly on drums/vocals and Jeffrey Gaer on keyboards. Famous for their powerful live shows - one of their stellar moments was opening for Leslie West and Mountain - Cal secured a faithful fan base, especially among the biker crowd. In 1980, they recorded Homegrown, their only album. As the title suggests, it was self-produced by the band and recorded by Larry at his 8-track home studio. But unlike other similar private albums, there's nothing amateur here. This is a perfectly recorded & played effort, featuring well-crafted songs. There's lot of loud distorted guitar, Hammond, analog synths and some Doors influence on the vocals, especially on the lysergic "Couragous Cat". Homegrown was released in 1982 in an edition of 2000, most of which were discarded due to pressing faults. Also, the album was mastered at lower speed. This reissue has remastered sound with corrected pitch/speed. Soon after, Larry met Todd Rundgren at a recording studio and he expressed interest in the band and some of their songs. Famous record label Sugarhill were also interested in adding Cal to their roster but nothing came of it in the end. So Homegrown vanished into obscurity until some original copies were discovered by psych dealers and collectors in the '90s. "Despite the 1982 release date, this upstate NY album feels like vintage '70s stoner music, it's mostly mild hard-rock with some psych and prog moves" -- Aaron Milenski (The Acid Archives) File next to other psych misfits such like T Kail, D.R. Hooker, Marcus, Michael Angelo. Insert with detailed liner notes and rare photos.
"PayJay Productions, Inc. was the company James Dewitt 'J Dilla' Yancey founded in 2001 to house his production company and his publishing company. The Estate of James Yancey has revived PayJay as a functioning imprint, and announced the release of J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is now available as an instrumental release, featuring production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg outfit Korea Undok Group. With more hiss than a valley of snakes, the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely. 180 gram vinyl on beautiful reverse board sleeve with incognito booklet, all designed by KUG. This is a total package that befits this unique scene of one, or many.
Atmosphere Strut (New Disco Version - Remix - 1979) 12"
The Three Crying Fairies 12"
L'esprit de L'escalier Remixes 12"
Eel Pie Island Remixes 12"
Mantra Studios Broadcast 1977 CD
High Tension EP (Incl. Gathaspar Remix) 12"
Ordinary Objects And Other Distractions CD
Energetic Remixes Part 2 12"
Infrastructure Facticity CD
Infrastructure Facticity 4x12"
The Dark Side of the Moog Vol. 5-8 5CD BOX
Live - New Orleans 1977 CD
Little Sickie: First Signs of Infection LP
Unworks & Rarities 2012-15 CD
Compost Black Label 135 12"
Jungle Fever/Tender Trap 7"
It's Hard For Me To Say I'm Sorry CD
It's Hard For Me To Say I'm Sorry LP
C 364 - Antico E Moderno LP
Ust 86 (Ballabili Anni '70) LP
The Woman At The End Of The World (A Mulher Do Fim Do Mundo) LP
Live From Gilley's 4 August 1985 CD
Million Dollar Band/Bull Run 7"
Meaning Turns to Whispers LP
Moments in Shapeshifting LP
Conversation Sur Lettres Mortes LP
Strange Feeling, Shit Coming LP
Heteronormativ Musik For Att Starka Medelklassens Sjalvbild LP
Strange Boy/No Surprise 7"
Do It Again/In Love With You 7"
Runnin' The Mardi Gras/Smile 7"
Live In Koln February 23, 1975 LP
Wake To A New Dawn Of Another Astro Era CD
Wake To A New Dawn Of Another Astro Era 2LP
Caution Radiation Area LP
You Think You Really Know Me LP
Montreal Jazz Festival '65 CD
Smoke The Monster Out 2LP
The Diary Instrumentals LP
Images for Diana Baylon LP
Wake Up You Vol. 1: The Rise & Fall Of Nigerian Rock Music (1972-1977) 2LP
Ust 370 - Caratteristici Vari LP
Woodstock Revival 10 Year Anniversary Festival 1979 CD
Cambodian Cassette Archives: Khmer Folk and Pop Music Vol. 1 CD