Bureau B releases a limited 3LP box set to celebrate Hans-Joachim Roedelius' 80th birthday. During the legendary Forst years, Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door, now and again. Here he experimented, practiced, and allowed his imagination to flow at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. With the release of Tape Archive 1973-1978, for the first time ever, this Roedelius audio sketchbook has been digitalized and made available to the public. The box set offers us a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, and studies in rhythm are also preserved on these magnetic tapes. Limited to 500 units: 3 LPs (180 gram vinyl) + 3 CDs, including a booklet with liner notes by Hans-Joachim Roedelius, Asmus Tietchens and Gunther Buskies.
Wilde Calm Records is honored to present new work from the late Elodie Lauten, New York City-based composer and recipient of the 2014 Robert Rauschenberg Award. Lauten had been exploring microtonality and alternative temperament since the early 1980s, first with a Fairlight CMI synthesizer and more recently with the Klio, her custom modular Reaktor software synthesizer. Many Wilde Calm fans will be familiar with Lauten's music from her numerous collaborations with fellow downtown luminary Arthur Russell. Lauten and Russell met through their mutual poet friend Allen Ginsberg and shared a similar sensibility, evident in their spiritual club classic In the Light of the Miracle and Russell's appearance on Lauten's seminal post-minimalist masterwork The Death of Don Juan. This EP includes five remastered selections from Lauten's 2013 album, Transform, and a Wilde Calm remix. Lauten's synth explorations are essential for fans of Laurie Spiegel and Suzanne Ciani. Limited edition of 500 in hand-stamped and numbered silkscreened jackets with full-color insert and liner notes by Jayson Greene. Cover and insert artwork by Josh Gurrie.
"....the second coming of Kohoutek. This was the first spontaneous release that was made into a record, credited to Father Yod and The Spirit of '76. It came out in 1973, the year of Kohoutek, when the imminent arrival of the big comet spawned a new round of cosmic consciousness in the media and with people all over the planet. This was more than a comet, its radiance was enormous, it came from ancient times to be experienced again by the enlightened people of the day. The Source Family were alive with expectation about the return of this long-haired messenger, and Father devoted considerable time chanting and eventually changing in his identity to Yahowa while meditating on the comet. Events like these were to be cherished for bringing infusions of energy that could only be accessed via the rare occasions. Life had to be lived in order to grow -- and the two sides of Kohoutek are a special jam that passes through tranquility to exultation, a tapping of the passing flame in the skies and a greeting from Father to the messenger and bearer of such awesome gifts. Very pure. After the original LP pressing in 1973, Kohoutek was issued on CD for the first time as a part of the God and Hair boxset in 1996; this is the first time the vinyl has been available again since the 1970s. Features all of the original artwork, including an insert about the comet, plus new inserts with reflections from Isis. These emanations from the original Source are pure, uncut spiritual visions from the mid-1970s, not to be missed."
Re-release of ed. RZ LP Luigi Nono plus three remarkable recordings. All works by Luigi Nono: ("A Carlo Scarpa" for large orchestra), ("A Pierre" for contrabass flute, contrabass clarinet and live electronics), ("Guia Al Gelidi Mostri" for electronically treated winds, voices and strings). Plus an additional CD of compositions not on the original LP: "Caminantes" and "No hay caminos, hay que caminar." Regarding Nono's concept of "new listenings": "This no longer means revolutionizing the entire linguistic system i.e. a subversive attack on the institution of music; rather it means progressively expanding the technical possibilities of sound produced by traditional instruments and the perceptive faculties of the listener." "Wanderer, your footsteps are the road, and nothing more; wanderer, there is no road, the road is made by walking. By walking one makes the road, and upon glancing behind one sees the path that will never be trod again. Wanderer, there is no road -- Only wakes upon the sea." --Antonio Machado
"It is with regret I have had to record the existence of such large areas of desert land encountered in my travels in Australia." --Australia Twice Traversed (1889), Ernest Giles (1835-1897). They Tore the Earth and, Like a Scar, It Swallowed Them is a very physical negotiation of territories voided by history. Forged from the historical dynamics of the settler colonial trope, the album plays out across four scenes, through the eyes not of the invaded but of the invaders of a harsh and unforgiving land. Visceral psychogeography of settler colonialism rendered via field recordings gathered over 12 years in over 30 remote locations across Australia, mixed and expanded within immense, shimmering harmonics wrought via pipe organ, guitar feedback, dubplates, turntables, and low frequency oscillators. Amidst the heat and the dust, in a landscape populated only by the insinuation of characters, settler colonialists' blind enactment of will and violence against and into an unforgiving, arid interior is a manifestation of a mortal struggle -- a starkness dwelling within an unfillable horizon. Mastered and cut by Rashad Becker at Dubplates & Mastering. Released on red transparent vinyl.
Originally released in 1965. Tracks: "Friendly Galaxy," "Solar Differentials," "Space Aura" and "Love In Outer Space," "Reflects Motion" and "Solar Symbols." 180 gram vinyl.
Black Solidarity Presents String Up the Sound System
LP version. In the beginning of the '80s, reggae music became increasingly in tune with what was happening in Kingston's dancehalls -- probably more so than at any time since the sound system operators had started to make their own shuffle and boogie in the late '50s. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music -- brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment. Oswald "Ossie" Thomas began his apprenticeship in the music business at the age of 14 and served his time as a record salesman for Bunny "Striker" Lee and Winston "Niney The Observer" Holness before moving on to Miss Sonia Pottinger's Tip Top Records. As Thomas said: "I ended up working in three record stores on Orange Street from 1976 to 1981...Yeah man, Me deh 'pon me bicycle till I buy my motorcycle. Them days records were coming out left, right, and center, everyday." It was during his time with Miss Pottinger that Ossie began to produce records for himself, and in 1979, Ossie and Phillip Morgan began The Black Solidarity label, based deep in the Kingston ghetto on Delamere Avenue. And so, the man who had made his name in the business selling other people's records, now became one of the most important and influential record producers of the era. Artists include: Triston Palma, Tony Tuff, Robert Ffrench, Michael Palmer, Puddy Roots, Ashanti Waugh, Phillip Frazer, Bill Blast, Cutty Ranks, Michael Forbes, Tony Carver, Eddie Constantine, Rod Taylor, The Bibles, and Frankie Paul.
LP version on 180 gram vinyl. Conrad Schnitzler's green album (aka Grün), originally released in 1981 on Edition Block. "Schnitzler's tracks in the 1970s were lengthy and shared a musical pattern which varied only minimally. Hence the green album has just one track on each side and any changes in melodic structure are subtle in nature. Both pieces are very much typical of Schnitzler in style, but less so tonally. An analog rhythm machine ploughs almost brutally through the astoundingly delicate electronic veil of 'Der Riese und seine Frau' ('The Giant and His Wife'), bearing little resemblance to Schnitzler's usual sequencer cascades. The second piece, created four years later, sounds completely different. Its title may be similarly poetic, but 'Bis die Blaue Blume blüht' ('Until the Blue Flower Blooms') transports the listener into another world altogether. A diminutive melody, consisting of just seven notes, becomes a kind of mantra, repeated with only the slightest variation until the end, as clusters of tiny sonic meteorites constantly swirl around, sparkling in all the colors of the spectrum. The composition is carried and held together by a permanent sequencer figure, brilliantly enhancing the catchy tune. Listening to the rhythmic-harmonic character and taking into account the year in which it was made (1980), it is fair to assume that this was recorded in Peter Baumann's Paragon Studio, like the Con album. The similarities are impossible to ignore. It is a well documented fact that Peter Baumann often allowed Schnitzler to work in his studio during this period. On the LP version, 'Bis die Blaue Blume blüht' can be played at 33 or 45 rpm, revealing a wholly different piece of music at the chosen speed. Both speeds are available as two tracks on the CD version. For a composer to come up with something like this by design speaks of great artistry -- or perhaps of great fortuity. Presumably the former. Schnitzler most likely experimented to this end and set up the recording in the studio to allow for both playback options -- an unusual device for the early 1980s and further evidence of his capacity for transcending artistic borders. The borders between Schnitzler's creative periods are too nebulous to be sure that the green album represents the coda of his '70s music. Still, Schnitzler's musical essence of the decade is in evidence as aural concentrate on both pieces. Not, however, as a recapitulatory review, but as a foundation, fertile ground in which Schnitzler's art would thrive in the decades which followed." --Asmus Tietchens
Jazz Advance is the debut album by pianist Cecil Taylor recorded for the Transition label on September 14, 1956. The album features performances by Taylor with Buell Neidlinger, Dennis Charles and Steve Lacy. "Though many did not understand his approach at the time, the passing years temper scathing criticism, and you can easily appreciate what he is accomplishing... With Jazz Advance, the revolution commenced, Taylor was setting the pace, and the improvised music world has never been the same." --AllMusic
Application have selected some of their favorite artists to remix their album System Fork (DUST 041CD/LP). Each artist selected their favorite track and were given the freedom to do what they wanted with the track. Application explain: "We went to see Pye Corner Audio in Sheffield, the table was festooned with equipment that looked like it has just been dropped out of a toy box. We immediately liked him. Beneath is so clever with the way he organizes his beats, we had to invite him to be part of this project as we've loved everything he's released. Geiom's approach and ear for detail has always been attractive to us and we really wanted to hear what he'd do with one of these tracks. We knew he would create something different that we wouldn't do ourselves. Scanner has been a good friend over the years and we've been closely following the very different path he's taken, he's always doing something we'd never have thought of, so we had to get him involved. We're big fans of Russell Haswell's work and have always enjoyed watching him work live, it's as if he's trying to put something back together while it's melting! Sometimes we don't understand what Mark Fell is doing but we always enjoy the experience. He drags you further and further into his world and not many artists can do that. These are our reasons."
Ferdinand Kriwet (b. 1942, Dusseldorf, Germany) is a German visual and audio artist who has produced films and sound works for radio and television, in particular throughout the 1960s and 1970s. As a sound artist, Kriwet is more known for his Horspiele (radioplays) series named Hörtexte (Radiotexts) produced for German public radio stations and composed with edited sound bites taken from mass media broadcasts. 2LP picture discs housed in a luxury sleeve. Includes a booklet in German.
Brazilian Disco Boogie Sounds 1978-1982: Selected by Junior Santos
Brazilian Disco Boogie Sounds is a compilation that brings together nine of the most important and obscure hits of the Brazilian funk-boogie-disco scene during the years of 1978 to 1982. Junior Santos has been a carioca drummer since he was 15 years-old, and is today a respected vinyl collector and music researcher. More than anything, he is carried on by the love of Brazilian music, which has never been forgotten. Favorite Recordings' initiative of seeking a unique project with Brazilian music spurred Junior to dig into old record companies' files and bring out pearls from what he sees as the end of the samba-rock period. At that time, musicians and arrangers such as Lincoln Olivetti, Robson Jorge, and Oberdan Magalhaes, along with Banda Black Rio, were responsible for the new music scene. They had dominated the studios with sophisticated and original arrangements that have forever transformed Brazilian musical perspective. This music, at that point, had gained a new style and great world respect that has remained up to contemporary times. Brazilian Disco Boogie Sounds pays tribute to this great era. Artists include Cristina Camargo, Solange, Sandra De Sa, Rabo De Saia, Claudia Telles, Carlos Dafe, Famks, Painel De Controle, and Paulo Ramos.
"Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor earlier this year that it would not be my last visit. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy--casino security is intense (you can hear me get warned of the consequences of taking photos at the beginning of the disc's second track)--and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions over a period of four months, the best of which are included here. I learned a lot about casino sonics in the process: game designers, for example, tune their machines to the key of C in order to optimize harmonic cohesion; one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are completely untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The disc in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality." --Adrian Rew
The first vinyl release on Her Records, following a string of digital releases. Fraxinus, the Devon, England-based club specialist, delivers grimy rebuilds of a classic Baltimore club vocal, Big Ria's "Hey U Knuckleheads." The A-side bucks wild with flanging subs and skittish rimshots yoked to a slamming kick and that militant sing-along vocal, flipping Baltimore ghetto music with sharp UK diction. The B-side, "Off Ends" (or "All Ends VIP" to the fiends), ratchets up the energy levels with rasping claps and ballroom kicks, lending a fractured tension to Ria's hood shoutouts. Both tracks are as rude as they come.
The first (and perhaps only) release from Talamanca System has been one year in the making. A single track with four interpretations, all at the hands of a new creative connection between Mark Barrott, Gerd Janson and Phillip Lauer aka Tuff City Kids, "Balanzat" features a lush medley of warm chords, soft, rolling, percussive strokes, and a retro bass line groove. It's a floating Balearic house gem, rooted in a classically groovy, U.S.-leaning framework. Also included is the twisted "Acid Reflux," a stomping Tuff City Kids remix and an ambient reprise in the "Beat Box Mix."
Ostra Discos presents the first two-track edit bundle of the finest Turkish music, edited by De Los Miedos. De Los Miedos aka Sebastiao Delerue is a Lisbon-based DJ who started making Persian music edits in 2013, bringing exotic, cosmic vibes to the clubs around the city, infecting everyone with his musical trip.
Here we have possibly the best Danish underground album from Denmark recorded in 1971. Shadoks Music just loves every second of this album and they are happy to re-release it on CD. The band was inspired by West Coast bands such as The Byrds, and Crosby, Stills, Nash & Young. The powerful music might be compared to Jethro Tull, The Beatles, and Led Zeppelin. A superb combination of heavy progressive and folk stylings, the album also has its very own identity and haunting songs. They have played many great concerts and festivals and became one of the most popular Danish bands. Julian Cope wrote: "Replete with extremely catchy songs, fiery Dervish-like guitar solos, confidently self-referential lyrics from a Wino Weinrichian poet/guitarist, all the while the entire ensemble spewing euphoric vocal harmonies over intricate and furiously hard-edged arrangements, this Album of the Month owes its artistic success not to any great dream of originality, but to the wild spirits of each of its performers and especially that of its primary writer -- one Cy Nicklin -- and his clear desire to contribute highly accessible Hippie Dream music that sat well alongside such million-selling contemporary heroes as The Moody Blues, Crosby, Tween, Nash & Young, Led Zeppelin, Traffic and The Who." Includes unseen photos by Jørgen Angel, and extensive liner notes written by Shadoks friend Claus Rasmussen, based on interviews with Cy Nicklin (lead vocals & guitars), Michael Friis (bass, organ, piano, flute), and others.
If there's one thing Jonas Kopp has proven over the last decade it's that he can turn his hand to just about anything. Since debuting on Pﬁrter's revered MindTrip Music back in 2006, the Buenos Aires native has managed to rack up a rich and compelling discography, coursing with ease through electronic music's various forms. From warm Chicago house through to deep, dark and driving techno on labels like Deeply Rooted House, Stroboscopic Artefacts and more, Kopp's hypnotic and heady sentiment has remained the red thread throughout, which has allowed him to flourish as one of techno's more liberal danceﬂoor purveyors. More recently, for Illian Tape he strayed out of the ring entirely to deliver two billowing, orchestral-sized ambient works; proof that there's still plenty more to come from someone already so well-versed and dexterous in his craft. It's high-time then, that Jonas Kopp should present his ﬁrst full-length effort. Beyond the Hypnosis weaves Kopp's discursive repertoire into a single and concise narrative, covering both familiar ground and exploring new and spellbinding territories, along with just a hint of cosmic neo-retroism that makes this a welcomed addition to the Tresor catalog. Despite having just a single release on the label so far, Kopp has been a ﬁrm ﬁxture at the club since 2011. Jonas Kopp is the next in line of contemporary luminaries that Tresor proudly welcomes to the fold. Beyond the Hypnosis is a techno album as ambiguous and unrestrained as its astrological muse. This is Kopp at his most wayfaring with titles like "Seven" and "Green Square" showing off more of the producer's ﬂair for spacey, subaqueous music. There is of course plenty of ﬂoor-facing material as well, delivered with less stringent functionality than we've seen from him before. The perverted "Tau Ceti," for example, or the basement-dwelling single "Red Plented" have been tarnished with the same brush as this album's more dreamier moments, setting them apart from stand-alone experiments to work collectively as a symbiotic and fully-ﬂeshed whole.
Hamburg's Marc Richter has been busy with his Black To Comm project since his last appearance under that name on Type, 2009's genre-bending and critically acclaimed Alphabet 1968 (TYPE 053CD). Aside from helming the prolific Dekorder imprint, he's put out a number of musical curios, including 2012's excellent film soundtrack EARTH. Now Richter is back with Alphabet 1968's proper follow-up, a self-titled double album pieced together from crumbling samples, vocal snippets, and an arsenal of noise generators and filters. Richter's material has always been characterized by an air of surrealism, but it's never been more obvious than on the pulsing, chattering opener "Human Gidrah" or in the delirious, fractured pop of "Hands." There are real songs hidden in here somewhere, but they're disintegrated by Richter's sound manipulation techniques and dissolved into soupy, extended drone marathons. The centerpiece is undoubtedly "Is Nowhere," which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never losing the listener's attention for a second. Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richter's dusty, unique sound has never sounded so well-honed and pointed, and it's a patchwork of ideas and fragments that only improves over time. Mastered and cut by Matt Colton. Artwork by Andreas Diefenbach.
Rare -- remastered edition of Janko Nilovic's album Super America, originally released in 1976. Janko Nilovic was one of the greatest European studio talents in the '70s. He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them are on library labels not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psych and easy listening. Sampled many times by hip-hop artists such as Jay-Z, Dafuniks and Guts.
"On the covers: front: The 40th Anniversary of Blondie; back: SZA. Contents: Fatima; Jordan Rakei; Stick Against Stone; Taylor McFerrin; The Budos Band; Eddy Senay; Harvey Mason; Marsha Ambrosius; Onyx; Raekwon; Robert Crumb."
Following his 2014 releases as Bass Clef for PAN and Alter, London-based musician Ralph Cumbers presents Bliss Abyss, a double-LP of new material under his Some Truths alter ego. Bringing together strands of house, techno, fractured rhythm, and anthemic modular synthesis, the album demonstrates Cumbers' vision as one of experimental music's most singular voices. As he adeptly distills strands of the familiar and abstract into a series of tonal and percussive collages, Cumbers effortlessly navigates the balance between stark, functional electronics and playful, psychedelic humor, molding contorted, evolving structures and tense shards of rhythm into oscillating synthetics and expansive dubbed-out comas. Bliss Abyss highlights Cumbers' position as an artist embedded in the lineage of British pioneering synthesis, while filtering these technological and esoteric histories through a razor-sharp dancefloor sensibility and a defiant ear for intricate construction and dynamics. At the center of the production process for Bliss Abyss is the rhythmic vista opened up by a Eurorack modular system and a repaired Roland TR606 drum machine. Using this combination, Cumbers recorded onto 25 tapes and then repeatedly recorded over them, creating imperfect palimpsests as sound leaked through from layers of previous recordings. This sits as the percussive bedrock for an exploration of acoustic modelling, and the uncanny potential for synthesis to both mimic and depart from the real.
Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener "Time Away" featuring euphonium played by Kim Holly Thorpe and last track "Missing," a contribution by Stott's occasional vocal collaborator Alison Skidmore, who also appeared on 2012's Luxury Problems. Between these two points Faith in Strangers heads off from the sparse and infected "Violence" to the broken, downcast pop of "On Oath" and the motorik, driving melancholy of "Science & Industry" -- three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with "No Surrender"-- a sparkling analog jam making way for a tough, smudged rhythmic assault, while "How It Was" refracts sweaty warehouse signatures and "Damage" finds the sweet spot between RZA's classic "Ghost Dog" and Terror Danjah at his most brutal. "Faith in Strangers" is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light, lingering on in the mind like nothing else. CD comes packaged in a 6-panel digifile.
"In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann 's epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rózmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early '80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all." --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.
The Travelling Archive - Folk Music from Bengal: Field Recordings from Bangladesh, India and the Bengali Diaspora
The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.
The Great Electric Show and Dance LP
The Process of Self-Immolation LP
Wine and Cigarettes/Voce Tem 7"
Savage Sons of Ya Ho Wa LP
Four Jacks Pt. 3 - 15 Years of Poker Flat 12"
Black Solidarity Presents String Up the Sound System LP
Aimer Et Perdre: To Love & To Lose: Songs, 1917-1934 3LP BOX
Tape Archive 1973-1978 3LP BOX/3CD
What's Fruit? Remixes 12"
Transform EP (Limited Edition) 12"
The One Who Really Loves You LP
Moyshe McStiff & The Tartan Lancers of the Sacred Heart LP+CD
13th May 1981, Atlanta Civic Hall, GA 2CD
With a Song in My Heart LP
They Tore the Earth and, Like a Scar, It Swallowed Them LP
The Sway of the Tree EP 12"
Lifestylez Ov Da Poor & Dangerous 2LP
Francoise Hardy PIC. DISC
Francoise Hardy PIC. DISC
Francoise Hardy canta per voi in italiano PIC. DISC
Slot Machine Music PIC. DISC
Knife in the Water: Original Motion Picture Soundtrack LP
A King of Tunes (Ragadevan) 12"
Brazilian Disco Boogie Sounds 1978-1982: Selected by Junior Santos LP
Brazilian Disco Boogie Sounds 1978-1982: Selected by Junior Santos CD
Hi, We're The Miracles LP
Cherry Garden of Jimi Hendrix CD
Benhayyi Al-Baghbaghan (Salute the Parrot) LP
Behind Brigitte Bardot LP
I'm Gonna Knock on Your Door LP
In the Fullness of Time LP