"Rob Noyes has been on the Eastern Massachusetts scene for a while, but what we've heard him play is music from within the context of electric bands, most of whom are loud as hell and exist somewhere along the rim of the post-core continuum. More recently, Rob has taken to displaying his solo acoustic guitar chops and they are massive. The Feudal Spirit is the first vinyl evidence of their 'shoulders.' Like Western Mass's Tony Pasquarosa, who mines the same widely-variant style-pits, Rob's approach to acoustic playing resembles his electric work only through shared-belief-in-a-strong-downstroke. On the way to developing his own compositional/performance approach, Noyes sometimes seems to have absorbed an almost infinite reservoir of influences. Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob's overt melodic structures tend towards the non-bluesoid. But then you'll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there's more of a blues base to some of the songs than you'd been able to untangle. Mr. Noyes hits a vast array of sub-genres on this album, and he hits them all pretty damn hard. Rob's playing carries the weight of many possibly-imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today's players, who tend to shine in short bursts, then allow their dreams to outrun their technique. Rob Noyes has no such apparent limitations. Like Raymond Pettibon, whose artwork graces The Feudal Spirit's cover, Rob's able to create a true form-gobble, making some real beautiful noise in the process. Around the world, licensed Hodologists whisper, 'Make mine Noyes.' Why don't you join them?" --Byron Coley, October 23rd, 2016, South Deerfield, MA. Jackets are hand-painted, screenprinted, hand-glued, and hand-cut; Cover art by Raymond Pettibon. 180 gram vinyl pressed at RTI; Lacquers cut by Bob Weston at Chicago Mastering Service; Edition of 330. Includes download code.
LP version. 180 gram vinyl. Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks Azymuth, have recreated the energy of those spellbinding seventies sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship which, coupled with their endless desire for experimentation and improvisation, has resulted in a ten-track journey encapsulating the full spectrum of Azymuth's brilliantly colored expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes! Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis.
LP version with download code. "Back in stock, the 2012 debut full-length from Austin-based electronic quartet S U R V I V E is available once again with yellow and black alternate artwork. A fresh U.S. repress is in high demand for this modern classic, as the band enjoys a recent surge in notoriety on the heels of members Kyle Dixon and Michael Stein's soundtrack work on the hit Netflix series Stranger Things. Recorded from 2010-2012 at the band's own Omniverse Studios in Austin, this record chronicles the early days of the group as they developed and defined their familiar yet original style of dark soundscapes. S U R V I V E ' s debut full-length marks the culmination of countless sessions recording and crafting a remarkable balance of songwriting and experimentation. The band's signature sound is a combination of vintage and modern synthesizers, recorded live and carefully processed to draw character out of every enriched sound wave before joining the mix. Originally released in 2012 on Berlin-based Mannequin Records, S U R V I V E ' s premiere is a fusion of reserved minimalism and lucid hooks. Underlined by the band's uncompromising standards in sound design, this album maintains a damaged quality that is nuanced and cohesive across all nine emotive tracks. Ambient pieces such as 'To Light Alone I Bow' and 'Deserted Skies' are beautiful hybrids of harmony and tension that represent the record as a multifaceted work of both mood and melody. In contrast, the cold and brutally propulsive pair of singles 'Hourglass' and 'Omniverse' are strikingly addictive, making their way onto the soundtrack of the 2014 feature horror film The Guest, directed by Adam Wingard."
Mannerlaatta ("Tectonic Plate") is Mika Vainio's soundtrack for a "74 minute Lettrist film made entirely without a camera" by Finnish film maker Mika Taanila; his third following their previous collaborations: 2002's A Physical Ring and 2015's Return Of The Atom (the soundtrack was released by Blast First Petite in 2016 as Atomin Paluu - PTYT 086CD/LP). The music was written very early on in the film's two-and-a-half year development, and subsequently held a strong sway over the rhythm of the film's editing and visual narration - which takes place as a series of black and white images made from photocopying various travel documents, which were later photographed onto 35mm reversal film in a darkroom, and overlaid with text by poet Harry Salmenniemi. As Vainio tends to use a set-up of a homebuilt kit, unchanged from his very earliest productions, each new release is effectively a subtle alteration/refinement of his brutalist but tactile process of creation. And, going by that timeline of events, we'd speculate that Mannerlaatta was conceived somewhere in the wake of his staggering Kilo (PTYT 076CD/LP, 2013) and the much sweeter Konstellaatio side as Ø, which is roughly where its aesthetics also lie. The 50 minute score breaks down to six sections, each exploring the full frequency spectrum of his patented, greyscale tonal palette, largely swerving a fixed rhythmic meter to occupy a weightless, out-of-reach mid-ground that seduces us headlong into his chasmic designs and best suits the black and white film imagery. Key to the recording's appeal - as with most Vainio gear - is that peripheral sense of spatial dynamic and his unpredictable manipulation of amplitude; whether dangling the listener over abyssal sub-bass dimensions, needling with icy prongs, or occasionally alleviating the tension with teasing pads which evaporate back into the æther as though they were never there, ultimately leaving the listener at rapt and at his mercy for the duration. Mastered by Denis Blackham; Cover design by Nullvoid.
"Legendary Swiss punk band from the late '70s. 'You can't dispute Liliput's status as pioneers of feminist art-punk. Along with fellow travelers like The Slits and The Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang Of Four and Wire -- propulsive bass, skittering pop rhythms, slashing guitars -- and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccuped in three languages and made-up dada slang. More than 20 years on, it still sounds fresh.' --Lisa Gidley. All material has been previously released as Liliput on Kill Rock Stars as a double CD, and a 4 LP box set on Mississippi Records, 1977 1983.First Songs combines all the pre-1982 material. All three Kleenex singles, the first two Liliput 7"'s and all the originally unreleased material prior to Liliput's debut LP."
A project that came to life fueled by collector's obsession and a life-long willingness to dive head-first into unknown musical wormholes, Miles Whittaker and Sean Canty have never been defined by a singular musical trajectory. Their opening salvo of releases dabbled with the aesthetic of the occult and provided an alternate, parallax view of the Italian Library records with which they were both obsessed at the time, but as their long running mixtape series and brilliantly curated DDS label attest, their interests extend far outside the crevices of early electronic music and into dance music, dancehall, roots, jungle, techno, industrial, noise and beyond. While 2013's Testpressing series provided an outlet for mostly club-based productions shot from the hip, Wonderland, their first album since 2012's Elemental, has been constructed with a narrative in mind. From the clipped hard-style of the opening "Curzon", through the jaunty dancehall mutations of "Animal Style" and "FullEdge", exotica/house refractions on "Hardnoise", the frankly ridiculous, bass-bin destroying jungle ructions on "Sourcer", or the extended tease of "Overstaying", it's probably the most enjoyable and loose-limbed hour of music in their catalog, or that you'll likely hear in these weird, angst-ridden times. Mastered and cut by Matt Colton. CD version comes in a deluxe six-panel digifile; the first edition includes Wonderland plus two extra discs containing all of the Testpressings, on digital formats for the first time.
Paradigm Discs present a 40th anniversary vinyl reissue of Anal Magic And Rev. Dwight Frizzell's Beyond The Black Crack. It was originally released in mono, in an edition of 200 by Cavern Custom in 1976. Beyond the Black Crack was the concept of Reverend Dwight Frizzell, a musician, film maker, doctor of metaphysics and minister in the Universal Church of Life. Mentioned on the pivotal Nurse With Wound list, it remains a little known classic and one of the most unique listening experiences in modern experimental music. Recorded between 1974 and 1976 in locations as diverse as factories, the pyramid opposite Harry Truman's grave site, as well as more "conventional" concert settings. Beyond The Black Crack is a dark, dizzying and exhilarating journey through free jazz, electronics and environmental sound, all shattered by Frizzell's radical tape editing. This reissue has been remastered from the tapes. Includes a four-page booklet with photos from the time; Pressed at Optimal in an edition of 500 (numbered).
Double LP version. Gatefold sleeve. Pias present a reissue of Black Earth by the German doom jazz cult band, Bohren & Der Club Of Gore, originally released in 2002. Black Earth is a masterpiece and the perfect soundtrack for an imaginary movie experiencing the nights in a dangerous city. For fans of SunnO, OM, Max Richter, Fennesz.
"The substance we are seeking here lies beyond the bare bones of fact, the when and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments. Mysteries may very well lurk here or there along the way. What keeps the final two founder members going after all this time? Do Morten Gass and Robin Rodenberg have skeletons locked in their closets? How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved. Including their debut Gore Motel (1994), Bohren & Der Club Of Gore have amassed an impressive eight long players... Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists Gore (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future... Similarly conspicuous by their absence in the Bohren chronicles are the numerous instruments which they added to the mix. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums. A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. The music of Bohren & Der Club Of Gore opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a dusky woodland tavern to a smoky quayside dive... These sinister crackling songs are invitations to secrete oneself in darkness." --Lars Brinkman.
In the Mix: The Sound of the 17th Season
In the summer 2016, Sven Väth invited the global electronic music community to the Mediterranean island of Ibiza for the 17th time. Soft, friendly chords and bird chirps from Swedish producer Harald Björk woo the listener to the dancefloor. Väth weaves Ripperton´s upright beats into the track, using reverberations of a graceful melody. Melting the rhythms of reggae and house together, Rhauder absorbs this very special mood of composed ease with a unique groove, featuring the attentive voice of Paul St. Hilaire. After Love Over Entropy's "Sea", Kamran Sadeghi's fascinating synth hooks develop space-grabbing shapes. Alex & Digby translates this colossal sonic drama into a humorous, imaginative orchestra of rustling and chirping sounds. Väth pushes the firm bassline of Traumer into the track, positioning the set firmly to the dancefloor. With the luscious house groove of Omar S, Väth reaches a magical Zen moment. With John FM´s vocal, a charming love song lightens the set up. Eddie Fowlkes translates this sense of longing into a rich fusion jazz, developing a strange poetry. Christopher Rau (C-Rau) contrasts this appreciation for elegance with a determined bass drum. Finally, Väth plays a track of his own, "Electrica Salsa". Remixer Roman Flügel uses futuristic, crystal-clear sounds, simultaneously revealing the modernity of the track. The final track of disc one is by Pantha Du Prince. Levon Vincent does not even need a bass drum for an electrifying piece of house music. With a pulsating bassline and an over-the-top organ solo, Redshape manages to be even more thrilling. Hot City Orchestra and André Galluzzi suspend this tension with an atmospheric techno track. Adam Port merges the diverging energies into a single, pulsating synth pattern. Damian Lazarus and Kölsch release this straightforward flow with soulful melodies. Margot condenses Kölsch's exuberance into a deep euphoria - wobbling synths mutate into Danny Daze's sawing acid track. Kölsch's remix uses a grumbling, doggish synth pattern to anchor all the multifaceted sounds of "Robot". With a gloomy, huge techno track featuring Mr. V, Slam exhibits another level of seriousness. Robert Hood (Floorplan) picks up this tension between techno and soul and pushes it even further. With Bart Skills, Väth reaches his finale. The very special Johannes Heil has siren-like winds flashing up abruptly. Väth immerses himself into the pure, rhythm-driven energy with Emmanuel's heavy, resonant synth tracks. Väth finishes this amazing set with the labyrinthine, trippy synthesizers of Konstantin Sibold's "Mutter".
On its return to the Sam Kerridge's Contort label, Emanuele Porcinai's WSR project renders a dense, gut-wrenching session combining self-built string instruments and field recordings in a sort of shoegazing noise-techno stress test. Chambers was written over the course of the last three years between Manchester, Florence and Berlin, and pursues the themes of structural decay and melancholic ambience from his Stainless debut (CNTRT 005EP, 2015) into a more coruscating, haunting zone of hypnagogic sound design and textural expression. Porcinai's self-built string instruments, guitar and field recordings are processed and layered with additional cello and double bass by Thomas Griffiths in a seamless movement of eight parts cleft over two sides, giving ample room for the sometime techno artist to thoroughly, systematically draw out and exasperate his instrument's character in a way that recalls Colin Stetson "beasting" his sax as much as some sore-as-fuck JK Flesh recording or his label mates, SØS Gunver Ryberg or Sam Kerridge, for that matter. It feels like music purpose built for the transition of seasons and darker, longer nights where there's nothing to do but get your head stuck right in the jaws of a slab like this. Porcinai has collaborated with Rabit and Shapednoise. Special edition detachable cover; Edition of 500.
Double LP version. Anthony Child, AKA Surgeon, presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui. Again, Childs is in a more ambient guise and setting, as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply "occurred" throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of electronic (Buchla) and acoustic (environmental) interplay. "Nine Personality Type Map" hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seethes in-and-out of the frame whilst "A Nightfall Of Diamonds" provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalog filled with gold. Recorded in Haiku-Pauwela, Maui between February 3rd and 14th of 2016.
Slight Freedom, Jeff Parker's first ever solo record, presents the first opportunity to hear the guitarist in fully self-revealed circumstances. Recorded in 2013 and 2014 in the Hollywood Hills as he relocated from Chicago to Los Angeles, Parker combines the dark tonal palette and percussive attack he's known for with real-time processing elements and field recordings, deftly crafting a unique world of solo guitar music - multi-lingual, mysterious, alive with extraordinary sonic events, with a sturdy intelligence in charge and a raw home-style vibe. Jeff Parker is a longtime member of Tortoise. He creates works that explore the contrary relationships between tradition and technology, and improvisation and composition. Slight Freedom is yet another defining moment for Parker in 2016, a year that already includes a brilliant ensemble album (The New Breed) and Tortoise's 25th anniversary tour and record (The Catastrophist). Parker's title composition sets the albums cavernous mood. Terse lines and ricocheting loops morph into a gnarly ambient section that resembles Neil Young droning out over a copy of Discreet Music (1975). Parker creates a different sort of ambient space in his take on Frank Ocean's "Super Rich Kids", bending the melody around a bossa nova rhythm into a Moodsville tone poem. Parker makes an extraordinary long-form statement out of Chad Taylor's "Mainz", a piece he first recorded with Taylor and bassist Chris Lopes on the album Bright Light In Winter (2011). Twice the length of the trio recording, the multi-layered soliloquy finds Parker leaping from the high rung to damn near orchestral heights, pushing his techniques and concepts to their breaking points. It's one of the great solo performances you'll hear from a musician this year. To say "Lush Life" comes with formidable baggage is an understatement. Parker achieves instant classic status with a rendition that sounds beamed-in from a decommissioned satellite - burned out, covered in space grit, yet still formally nuanced and beautifully reflective of Strayhorn's world-weary lyrics. Mastered by Helge Sten at Audio Virus. Pressed on 180 gram vinyl by RTI; Presented in a heavyweight Stoughton "laserdisc" sleeve, printed by Stoughton; Silkscreened by Alan Sherry of Siwa, who also silkscreened the labels and the inner sleeves; Edition of 850.
Having made two superb psychedelic albums and gigged with The Doors, Frank Zappa, Pink Floyd, The Velvet Underground and many others, in June of 1969, The Mandrake Memorial came to London. The plan was to record with famed producer Shel Talmy (The Kinks, The Who, Pentangle), but when that fell through, they persevered alone. Long thought to be lost, 3 Part Inventions anticipates the woozy, dream-like vibe of their 1970 masterpiece Puzzle, combining eerie vocals, trippy guitar and otherworldly electronics to create a unique whole. Transferred directly from the master tape, it's released here for the first time, together with a detailed band history, rare images, two previously unheard outtakes from a 1969 acetate, and a rare radio interview.
Recently unearthed Peter Gordon & David Van Tieghem collaboration from 1978, featuring vocals from special guest Kathy Acker, author of post-modern classic Blood And Guts In High School (1984). Gordon and Van Tieghem play all of the instruments and electronics, overdubbing on a 1" 8-track recorder. The result is intimate and vulnerable, yet ice cold and edgy. "Winter" is a cold-wave, proto-techno track. "Summer" is a lyrical and romantic instrumental. With Van Tieghem's drumming laying down the bedrock, the acoustic piano and vari-speeded marimba take turns drifting in-and-out of the foreground. Artwork features two new original, drawings by Laurie Anderson.
2016 splatter-color vinyl repress. "Initially released in July of 1970, five hundred copies were pressed. Subsequently, auctions on Ebay for an original vinyl LP go for $2000. The New Dawn's There's A New Dawn has been hailed as one of the rarest and best psych albums to come out of the late '60s/early '70s. Fuzz guitar, minor-chord organ dirges, tender vocals and monumental bass are the calling cards of this private press gem. Maybe it's all the rain, but like their Northwest counterparts, The New Tweedy Brothers and The Sonics, The New Dawn helped to establish a regional musical perspective that is hauntingly addictive. After being highly sought after by collectors, we are proud to release this definitive reissue, produced in close collaboration with Dan Bazzy, singer, songwriter, and founder of The New Dawn. Also included are three previously unreleased 1971 demos and a live track from a 2008 band reunion. Limited edition color vinyl of 500 with MP3 download. Includes band history and historic photos. Complete original track listing plus four bonus tracks. Hailed as a 'Masterpiece of Music' by Hans Pokora author of the book series, Record Collector Dreams."
LP version. Jamaican Recordings reissue Tapper Zukie's legendary Escape From Hell album, originally released in 1977 as a dub follow up to Tapper's exceptional 1976 release, In Dub (JRCD 044CD/JRLP 044LP). The In Dub album was cut using the great talents of engineer Philip Smart, but when the tracks were pulled together for its follow up Escape To Hell, Philip Smart had left Jamaica for New York and his replacement at the controls was Prince Jammy, who had just returned from Canada at the request of King Tubby himself. The purpose was to fill Mr. Smart's position. Tapper was definitely in good hands and at the time he could tell that Prince Jammy was soon to become King Jammy due to his outstanding studio work. The Escape From Hell set was initially overlooked more to the fact of the small numbers of its original pressing. The album makes great use of Tapper's extraordinary Channel One rhythms cut with Sly and Robbie's The Revolutionaries. Great rhythms matched the magic from King Tubby's studio at the hands of Prince Jammy.
"Fourth in Open Mouths's Live At ... series. Greg Kelley on trumpet; Bill Nace on electric guitar. Recorded March 9, 2016 by Daniel Menche. Cover art by Bill Nace. Covers screened by Alan Sherry. Edition of 300."
John Talabot returns on Permanent Vacation with a sublime new track called "Voices". For the B side, Gerd Janson created his very own beat and groove tool with the "Version Conga". Special silkscreen print, artwork by Arnau Pi.
Shake Some Action Vol. 1.1 UK: A Collection Of Power Pop, Mod & New Wave Rarities 1975-1986
The Shake Some Action series returns with the first two volumes of the long out-of-print collection of power pop, mod and new-wave rarities from 1975-1986, on vinyl for the first time. Each of the original CD's 24 tracks are split across two vinyl editions, featuring a dozen rare tracks on each. Volume 1.1, presented here, focuses on the UK and Volume 2.1 (SSA 002LP), focuses on the USA. All killer, no filler - eschewing the obvious genre names, instead digging deep and turning up gems galore. A dozen tunes drenched in melody, youthful adrenaline and power chords. Volume 1.1 is dedicated to bands from the UK and includes such classic tracks as Seventeen's "Don't Let Go", The Invaders's "Best Thing I Ever Did", and The Kick!'s "Let's Get Back Together", alongside nine more tracks you are meant to be play loud and shout along with. Also features: The Boyfriends, The Distractions, Last Stand, Really 3rds, The Donkeys, Slowguns, Tonight, and Tours. Includes a full color sleeve, plus an insert with extensive liner notes by Alan Fleagle. Edition of 400.
In 1978, Japan released their debut album Adolescent Sex and kick started a career that would span decades. With Steve Jansen on drums, the band enjoyed huge success whilst simultaneously creating a back catalogue of music that still inspires today. Fast forward to 2007 and after many years working and collaborating with artists such as Richard Barbieri, Yukihiro Takahashi, Ryuichi Sakamoto and Bernd Friedmann, Steve released his debut, solo album Slope. Steve Jansen's second solo album Tender Extinction is an evocative blend of songs and instrumentals enlisting some of the singer/songwriters that appeared on Jansen's previous solo work Slope, namely Tim Elsenburg (Sweet Billy Pilgrim) and Thomas Feiner (Anywhen), as well as featuring new collaborations with Perry Blake (Ireland), Melentini (Greece), Nicola Hitchcock (UK) and including some vocal performances by Jansen himself. Atmospheric sound design creates a bed of complex, often atonal qualities, with delicate synth and orchestral arrangements drifting throughout to produce a multi-layered, emotive and hauntingly intimate album. Some titles are punctuated with Jansen's characteristically minimal drum patterns and off-kilter time signatures while others are structured with more classical elements such as piano, cello and orchestral string arrangements. All music and arrangements are by Jansen with guests vocalists providing their own lyrics and vocal melodies on five of the tracks. Steve on the album: "I spent a long time with the material, honing it down to those elements that blend together well in an attempt to allow the dissonance that weaves throughout much of the music to settle into its own space and not overly distract from the more harmonious content. The album is somewhat reflective and subtly addresses aspects of transience and transformation and a romance in holding onto those things we think of as precious and that will inevitably cease to exist."
Slow Grind Fever Volume 6
Slow Grind Fever Volume 6 was compiled by Slow Grind Fever guest DJ Simon Laxton. Expect the best in late '50s slow dance. Features: Little Jimmy Scott, Bo Diddley, Jeanette B. Washington, Don Sargent And The Buddies, Bob Kayli, Malcolm Dodds, Bill Doggett, Donnie Elbert, Eddie Jacobs, Lavern Baker, Aki, Freddie And The Hitch-Hikers, The Delta Rythm Boys and Jon Thomas.
Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo
Numbering less than 1000 people, the Dayak Benuaq from the Eastern Kalimantan region of Indonesian Borneo still practice many of their traditional ceremonial customs. This album of field recordings presents the music associated with the kwangkay, the secondary mortuary ritual celebrated by the Dayak Benuaq, recorded live on location by Vincenzo Della Ratta. According to the Benuaq belief system, upon death the soul of the human being is transformed into the liau, associated with the physical body, and the kelelungan, associated with the intellect or the head. Both the liau and the kelelungan temporarily reside in a sort of cosmic location, connected respectively with the bones and the skull of the deceased, who has entered a state of deep unconsciousness, as yet neither pertaining completely to the realm of the living, nor to that of the dead. Music plays a key role within the kwangkay, as it is crucial for guiding the liau and kelelungan spirits to their final destinations. It is also intended to please the spirits of the dead by providing them with entertainment. This ritual includes a night dance performed for the spirits and accompanied by a musical piece known as the ngerangkau. These rites and ceremonies are often dedicated to several deceased persons and are held within a house belonging to one of their family members. Featured here are two different versions of the ngerangkau, with their long, trance-inducing rhythmic gong patterns. There are two more tracks on the album which are not specifically related to the kwangkay. "Titi Mati" is a gong piece commonly played to proclaim the recent death of a villager. And finally, a nocturnal soundscape of a village by the river Mahakam, a channel of transport and communication which is essential for the local people of the Benuaq territories. Limited edition LP; includes insert of text and images by Vincenzo Della Ratta.
Music Of The Bahnar People From The Central Highlands Of Vietnam
Sublime Frequencies present a collection of music from the Bahnar people who live in the Central Highlands of Vietnam. The Bahnar are famous for their rich musical culture and this is perhaps the first-ever release to introduce the full range of Bahnar musical instruments and styles, including gong ensemble, bamboo zither, bamboo xylophone, bamboo fiddle with mouth resonator, and folk songs. Melodic and hypnotic, this music was selected from recordings made in the Kon Tum province from 2006 to 2015 by Eisuke Yanagisawa. One of many highlights of these recordings is a most unusual and stunning instrument - the bamboo fiddle with mouth resonator - which creates an effect that is on one hand an organic auto-tuner of sorts and on the other Peter Frampton coming alive on his 1970s talk-box. The Bahnar's music has been passed down through the ages in each village but is now endangered because of cultural assimilation related to changes in their lifestyles and living environment. These recordings preserve for us the vestiges of a traditional music culture that might no longer be heard in the near future. Includes performances by Kaly Tran And His Ensemble, A Wen, A Thut And His Ensemble, Gong Ensemble Of Kon Kotu Village, Y Tham & A Hieu, A Thao and Gong Ensemble Of The Long Loi Village. Limited edition LP; includes insert of text and images by Eisuke Yanagisawa.
Nino Pedone, aka Shapednoise, provides a concept suite inspired by the "Serenity Manifesto" of Eric Burton (Rabit) and Francesco Birsa Alessandri - a sort of poetic inversion of Luigi Russolo's futurist manifesto, The Art of Noises (1913). In "Motion And Depth" or the bleached electro-acoustic structures of "Delusional Path" he dissolves the tension of Emanuele Porcinai's strings into a syntax of ecstatic physics. The subatomic diffusion of "Resistance To A Harmonious Vision" with Roly Porter speaks to an experience of luscious sensory overload. In the tumultuous "Pulling At The Seams Of Existence", he and Rabit embrace the discord of uncertainty.
Vinilisssimo present the first vinyl reissue of Tim Maia's 1977 self-titled album. Tim Maia was born in 1942 in the suburbs of Rio de Janeiro and started his musical career at an early age, along with close friends such as Roberto Carlos or Jorge Ben. Carlos would eventually help him to get a deal for his first single at CBS. During the '70s, Maia started to incorporate soul and funk elements into his style. After a two-year period involvement in the Cultura Racional in Brazil, Maia's funky style was still at its best when he released this album in 1977. It was his first and only recording for Som Livre, the legendary label that became extremely popular due to the many soap operas soundtracks in its extensive catalog. This self-titled LP deserves to be shortlisted among Maia's top records. It features killer tunes like the anthemic "É Necessário", undoubtedly one of the best songs in his career, and also boogie gems such as "Verão Carioca" or "Venha Dormir Em Casa" that show obvious influences by some of the biggest American soul artists of the time. It also contains intimate vocal delights as in the lovely smooth tune "Música Para Betinha" or even straight funky instrumentals like "Flores Belas". The string arrangements, wah-wah guitars, horns, deep vocals make this recording a milestone in the so-called "Black Movement" in Rio, where artists like Toni Tornado, Banda Black Rio and Maia himself were bringing in the funky sounds of America and mixing them with local rhythms like samba. Presented in facsimile artwork and pressed on 180 gram vinyl.
Sri Lanka: The Golden Era Of Sinhalese And Tamil Folk-Pop Music
Sri Lanka still remained one of the rare South Asian countries whose folk-pop music from the 1960-70s had not yet been compiled abroad. This gap is now to be filled with Sri Lanka: The Golden Era Of Sinhalese And Tamil Folk-Pop Music. This compilation presents the diversity of Sri Lankan musical styles between 1967 and 1979 through 30 titles. It comes along with a booklet depicting the country's historical, cultural and musical context. Sri Lanka possesses a great variety of musical traditions and influences which have been shaped by centuries of regional and international exchanges. If Sri Lankan music is undeniably part of South Asian musical culture, its heritage is also a product of almost five centuries of European imperialism. Coming from an original form of creolization, as defined by Edouard Glissant, the baila bears the trace of both the African diaspora and the Iberian influences on the country. The Kaffirs - African slaves deported by the Portuguese - introduced African sounds, while the Portuguese brought their musical traditions and instruments (cavaquinho, mandolin, violin, tambourines). The baila, reminiscent of Caribbean calypso, became the ultimate popular music and dance. The sarala gee (also called light classical music) is a combination of Indian inspired music, either classical or close to Bollywood productions, with Sinhalese lyrics and a slight pop accent. In the early 1960s, the music label Sooriya Records, with founder Gerald Wickremesooriya, were determined to put into light proper Sri Lankan music. Wickremesooriya invented the "new sound of Ceylonese pop" and quickly, the label's hits were broadcasted on Radio Ceylon, the number one radio for a long time. Sooriya Records's catalog reflected the diversity of Sri Lankan musical styles of the times: Anglo-Saxon influenced Sinhalese pop stood next to the baila or the sarala gee. Traditional instrumental music, were also edited by the label. This selection, mainly constituted of titles from Sooriya Records's catalog, presents the most popular artists of the times. Features: Pau Fernando, W.D. Amaradeva, Clarence Wijewardena, Paramesh, The Fortunes, Sanath & Malkanthi Nandasiri, A.E. Manoharan, Pani Bharatha & Party, Mignonne & The Jetliners, Shan, Amitha Dalugama, Maxwell Mendis, Police Reserve Hewisi Band, Shiromi Fernando, Wimala Amaradeva, Indrani Perera, Winslow Six, The Moonstones & Indrani Perera, Sidasi Turya Vadayako, Nalino Nel, Los Flamincos, Lilanthi Karunanayake, Claude & The Sensations With Noeline Mendis, H.R. Jothipala, The Golden Chimes and Victor Ratnayaka.
The second release on Arcing Seas by label heads Cassegrain. This new material presents the duo's very individual approach to tonality within the techno framework, combined with a subtle tribal influence. Maintaining their aim, they keep things exciting for the club as well as sonically. Arcing Seas is an anagram of Cassegrain. It started out as a secret alias, releasing a couple EPs on Our Circula Sound.
Pressed in Detroit. Another monstrous Metroplex essential gets reissued. Late '80s electro funk from Juan Atkins as Model 500. "Off To Battle" seriously laid down the foundations for what was to come next from experimental Detroit. Metroplex continue to re-release their early classics.
Slow Grind Fever Volume 5 & 6
Slow Grind Fever Volume 5 & 6 combines the latest two volumes of Slow Grind Fever on CD. Includes a 12-page booklet. Expect the best in late '50s slow dance. Features: The Hollywood Flames, Rose Hardaway, The Marquis, Hillard Street With Jack Marshall's Music, Steve King & The Echelons, Johnny Burnette, Dee Clark, The Night Caps, Birdie Green, The Shields, Nappy Brown With Teacho Wiltshire's Orchestra, Singin' Sammy Ward, King Coleman, April Stevens, Little Jimmy Scott, Bo Diddley, Jeanette B. Washington, Don Sargent And The Buddies, Bob Kayli, Malcolm Dodds, Bill Doggett, Donnie Elbert, Eddie Jacobs, Lavern Baker, Aki, Freddie And The Hitch-Hikers, The Delta Rythm Boys and Jon Thomas.
Tapete present a reissue of Slapp Happy's Sort Of, originally released in 1972. Left-wing intellectual film critic Uwe Nettelbeck, who had good connections to Polydor, had set up his own studio in rural Wümme, disrupting the mainstream with pioneering sounds by the likes of Faust, inventively engineered by the "boffin's boffin", Kurt Graupner. By the time Anthony Moore, one of Nettelbeck's charges, approached his third album in 1972, Polydor's accounting department was fast losing patience with all that experimentalism. So Nettelbeck suggested to Moore that he might write some straight songs (relatively speaking), which in turn prompted Moore to invite his old school friend Peter Blegvad over to Hamburg to form the band Slapp Happy. Dagmar Krause, a young singer from Hamburg and Moore's girlfriend, joined them both on their trip to Wümme to record what was to become Sort Of, using Faust as a backing band. A second album emerged, eschewing, even more clearly than the Sort Of, the heavy rock idioms of the era for an anti-macho playfulness that presaged the sparseness of post punk and the dry jangle of early indie. Nonetheless, Polydor pulled the plug, and Uwe Nettelbeck signed Faust and Slapp Happy over to Richard Branson's nascent Virgin imprint. At the Manor, they would rerecord their second album with UK musicians, bells and whistles for a 1974 release as Slapp Happy, burying the original version in the vaults not to reemerge until 1980 as Acnalbasac Noom (TR 356CD/LP). After being asked which version they prefer today, the band does not take long to choose: "For the more direct approach it would have to be Acnalbasac Noom. It had a naïve spontaneity to it. Naïve in the nicest sense of the word."
Art Yard continues their voyage into the omniverse of unreleased Sun Ra tapes with I Roam The Cosmos, an unreleased, previously unheard 1972 live session recorded at Slug's Saloon in New York. Fronting a stellar 18-piece incarnation of the Arkestra, I Roam The Cosmos finds Sun Ra taking the listener on a poetic journey to the outer limits of planetary awareness. While the captain of the space-ship declaims his message with Arkestra vocalist June Tyson as co-pilot, the Arkestra voyage into the solar centers of esoteric astro-black knowledge aboard a comet-trail jam on "Discipline 27-II". As current Arkestra member Knoel Scott observes in his liner notes, "Sun Ra was a teacher, come down to earth to spread the enlightenment of the ancients and advance the alter-destiny of humankind. This earth was not his home: he was here to wake the sleepers, and to make sure no-one would forget his message. The universe sent him to converse with us, and I Roam The Cosmos is another unique message from Saturn, delivered for tomorrow's world by Art Yard Records." Liner notes by Knoel Scott and Irwin Chusid. Limited 180 gram vinyl pressing with tip on sleeve.
Alle Sorgenti Delle Civilta
The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). This release compiles her contributions of Folkmusic releases Alle Sorgenti Delle Civiltà volumes One and Two to create her first-ever dedicated artist album under any of her recording monikers. Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop) combining the ethos of Can's "Ethnological Forgery Series" (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks. Remastered from the original Flipper master tapes in collaboration with the Di Bari family. Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country's vibrant, and seldom rivalled musical secret society. The cliché "behind every successful man, there is a strong woman" might not do Alessandro and Giulia's long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni's limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo's finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984, Giulia's collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens (1969), Revolver (SPITTLE 056LP, 1973), Questo Sporco Mondo Meraviglioso (1971), The Night Evelyn Came Out Of The Tomb (1971), Angoscia (1975), Inchiesta Giudiziaria (1971) and Witchcraft '70 (Angeli Bianchi Angeli Neri) (1970) earning increasing "Most Wanted" status on the collectors market. It is of no coincidence that Giulia's nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis's seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.
Ritual Chants is a stellar earthbound and outer space odyssey spanning three discs, respectfully embellishing Psychemagik's taste and passion for the wonderful, the sublime and very often unusual. Ritual Chants skillfully shows insights into applying retro finds into a contemporary setting, much of the material acquired via world tours and capturing the excitement of finding and sharing lost jewels. Compiled by Danny McLewin, the renowned record digger of the duo, the three discs are carefully programmed and sequenced into three themes: Love, Beach and Dance, all of which tenderly demonstrate curious ears with a respectful nod to the past and the future via such touchstones as the pre-new age emanations of "Water Sports" by Man Parrish, a beautiful tranquil and cascading synth poem which soothes and pulses, and the sublime and haunting "God's Garden" by John J. Francis. Along with the two mentioned tracks, Love features the Gallic seduction of "L'Amour Joue Au Violon" by Jeanette, a real string-swept lost masterpiece reminiscent of Melody Nelson-era Serge Gainsbourg. On Beach, the booming drum machine mechanics of "Hangin' Out In Space" by Tony Wilson is a galactic deep-fried boogie which will have even robots shaking their metal-ware into the long wee hours, as will the hypnotic Arabic infused brew made by Golden Hands on "Take Me Back". The semi discordant funk of Zru Vogue's "Do the Zru", reminiscent of a later era Can, finds its place on Beach as well. Dance opens with phenomenal and unknown cuts such as "Love And Happiness" by Mansour Sallama and Ennio Morricone's disco-infused hybrid cut "Dance On" adding magic and mysticism, and high quality floor polishers such as Pop-Corn Makers's "Nothing", a sweaty gyrating slice of European sleaze. Psychemagik are a duo as infamous for their production technique as their DJ skills, their prolific edits laced with subtle studio production re-interpreting vintage gems and giving them a contemporary bounce. Love features: The Rias Orchestra, John J. Francis, Chac Mool, Kraan, G.R.C. Five, Free Fantasy, Wavemaker, Bobby Lyle, Babla & Kanchan, FG's Romance, Etienne Vermoessen & Guido Delo, Musyl & Joseppa and Karat. Beach features: El Sueño De Hyparco, Minako Yoshida, Adrian Gurvitz, Hitomi Tohyama, Chagrin D'Amour, Amini, Electric Machine, Jean Guy Ruff, J.M. Black and Danny Boy. Dance features: La P'tite Fred, The Right Combination, Sharpio, Grant Santino, Dionne, Will To Power, Raoul Denis Jr, Dan Lacksman and Family Four.
LP version. 180 gram vinyl with obi strip. Far Out Recordings present a reissue of Jose Mauro's forgotten masterpiece Obnoxius, recorded in 1970 for Quartin. Over the course of the '60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year, including Obnoxius. Jose Mauro is an increasingly rare phenomenon. Mauro is said to have died in a car accident shortly before the release of Obnoxious, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. Production on the record was cancelled after Mauro's death and it was never sold commercially until it was rereleased decades later. The title track is a wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro's yearning vocals. The result is indicative of Mauro's unique blend of sounds from Latin jazz and samba to psychedelic folk and baroque orchestration. Today, Obnoxious retains its strange, otherworldly appeal - a firm favorite among a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points and DJ Nuts. Jose Mauro's mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro's confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener in an almost trance-like state of ecstasy. Obnoxius is Mauro's long hidden masterpiece, a complex and uniquely stunning work. All tracks on the record were composed by Mauro and Ana Maria Bahiana. Personnel: Maurilio - trumpet; Paulo Moura - alto sax; Altamiro Carrilho - flute; Rildo Hora - harmonica; Salvador - organ, piano, harpsichord; Geraldo Vespar - guitar; Jose Mauro - violao; Sebastiao Marinho - bass; Juqinha and Mamao - percussion; Wilson das Neves - drums; Roberto Quartin - string formation.
LP version. Includes download code. After the widely noticed performance at the "Acht Brücken Festival 2016" at Cologne's Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich's "Six Pianos" as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich's composition but still far more than just that - it is a modern approach to his idea behind it. The basic idea came up at the beginning of the '70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where "Six Pianos" developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form "Six Pianos" in dignified modernity and top it off with today's sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture - "Six Pianos" the way it should be looked at in 2016. Jan Brauer mixed "Six Pianos" in the studio while Lukas Vogel provided delays for the "Keyboard Study #1". "Keyboard Study #1" by Terry Riley is a worthy companion for Reich's composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach's assumption: "Terry Riley's and Steve Reich's music are open doors for pianists socialized by pop music and their audience."
This Ain't No White Christmas LP
The Medium Is the Massage LP
Are Here To Help The Neighbourhood LP
The Sisters And Their Sons LP
Treasured Moments: The Complete Backbeat/ABC Singles 2CD
Treasured Moments: Backbeat/ABC Singles LP
I Learned It All The Hard Way: Deep Soul Classics 1966-2003 LP
Chicago Jazz Festival 1987 2CD
Dandelion Sauce Of The Ancients LP
The Garden (Colored Vinyl) LP
Live At The Ash Grove, 1967 Volume 1 CD
Fungus Cerebri: Selected Tracks From Cassettes 1981-1989 2LP
Feel Like Going Home: Cover Albums 6LP+4CD BOX
Ghostdance EP + Selected Cuts LP
The Roundup Part III 2x12"
Live... Toronto May '93 CD
Heat Your Room For Eight Pence Per Day They Said EP 12"
Peanut Butter Conspiracy Theories: Lost Songs 1967-1968 LP
Shake Some Action Vol. 1.1 UK: A Collection Of Power Pop, Mod & New Wave Rarities 1975-1986 LP
Shake Some Action Vol. 2.1 USA: A Collection Of Power Pop, Mod & New Wave Rarities 1975-1986 LP
Slow Grind Fever Volume 6 LP
Gunsmoke Volume 1: Dark Tales Of Western Noir From A Ghost Town Jukebox 10"
Blondes Have More Fun (Part 1) 12"
Blondes Have More Fun (Part 2) 12"
Live At Trax, New York, '79 CD
Sri Lanka: The Golden Era Of Sinhalese And Tamil Folk-Pop Music 2CD
The Legendary Busoni Recordings 2CD
Rocanrolorama (1974-2016) 6CD BOX
Feathered Swing Of The Raven CD
Quick Sparrows Over The Black Earth CD
In the Mix: The Sound of the 17th Season 2CD
Pyre: A Cold Spring Sampler CD
Talking 'Bout... Milkshakes! / After School Session CD
Thee Knights Of Trashe / The Milkshakes' Revenge! Trash From The Vaults CD
Present Different Circles CD
Cahn Auditorium, Northwestern University, Evanston, Chicago 1956 2CD
The Labyrinth Of The Straight Line CD
Electronic Recordings from Maui Jungle Vol. 2 CD
Electronic Recordings from Maui Jungle Vol. 2 2LP
Taking Into Account Only A Portion Of Your Emotions CD
Happening: A Movement In 12 Acts CD
Togo Soul 70: Selected Rare Togolese Recordings From 1971 To 1981 CD
Togo Soul 70: Selected Rare Togolese Recordings From 1971 To 1981 2LP
The Sound of Belgium Vol. 3 4CD
Sound Of Stereo/Off To Battle 12"
Donaueschinger Musiktage 2015 2CD/SACD
Hommage a Daniel Libeskind CD
Beyond The Black Crack LP
Beatfreak! Vol. 4: Rare and Obscure British Beat 1964-1969 CD
Dustin E Presents... Cornflake Zoo: Episode Five CD
Estagfurullah... Ne Haddimize! CD
Slow Grind Fever Volume 5 & 6 CD
Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo LP
Music Of The Bahnar People From The Central Highlands Of Vietnam LP
Deafening Chaos Serenity 12"