Skam Records are very proud to announce the re-release of Boards Of Canada's Hi Scores. Originally released in 1996, Hi Scores constitutes Boards Of Canada's second official release after 1995's Twoism. This follows the reissue of their other seminal records by Warp in 2013. The new edition has been re-recorded and re-mastered from the original DAT tapes. The CD is housed in a Digi-Pak sleeve with some extra art. The original image on the back of the sleeve is now in color. Spot varnish finish on the images & text alongside the usual Skam Braille sticker gives the whole package new depth and a refreshing look and feel.
In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's The Opening of the Cerebral Gate. For the ﬁrst time, music fans will be able to experience the whole journey on vinyl. The 3LP package includes the vinyl version of the album as it was originally released plus a bonus 12" featuring "Look Within," "Unordinary Realities," and "Do You Want to Get Down (Vocal De Void)" -- for the ﬁrst time available on wax. Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, The Opening of the Cerebral Gate was conceived as the second part of the so-called Drexciyan Storms -- a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album Harnessed the Storm being the ﬁrst). This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reﬂected in Transllusion's ﬁrst album. Thematically, The Opening of the Cerebral Gate saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game. The album is chock full of hypercharged arpeggios and driving pulse patterns, Morse-like tones and chord stabs, huge, uber-booming tympanic kicks and grainy snares, (see openers "Transmission of Life" and "War of the Clones"). On the other end of the stylistic spectrum it features sweeter tones and moments of sheer, staggering beauty ("Dimensional Glide" or the CD's centerpieces "Look Within" and "Unordinary Realities"). In between, all kinds of alien electro funk shadings are to be found, every single track so well-executed, making it impossible to pick a highlight.
2014 repress. Angry Love Productions is proud to present Psychic TV's 1983 classic Dreams Less Sweet, back on vinyl for the first time in over 20 years. Holophonic audio from the original UK vinyl masters with meticulously restored artwork. Features early PTV classics "The Orchids" and "White Nights." Officially licensed through Sony UK.
Omega Point had obtained the original tape recording of "Extended Voices" composed by Toshi Ichiyanagi (first released by Odyssey/Columbia in 1967 on the compilation of the same name, alongside other pieces for voice & electronics by Pauline Oliveros, Morton Feldman, John Cage, Robert Ashley and Alvin Lucier). The piece consists of electronic sounds and modulated voices which are included on this album in two new 2014 realizations, in collaboration with Takashi Matsudaira, a baritone singer. The CD also adds experimental pieces selected by Matsudaira as well as his own original work, allowing the label to construct "an anthology of extended voices," partially as an homage to the original LP. Features Toshi Ichiyanagi's "Extended Voices (New Version #1)" (1967/2014); John Cage's "Ryoanji" (1983-1985), Takashi Matsudaira's "Shiroi Shojo (A Girl in White) (2014); Shigeru Matsui's "*" (2007); Toshi Ichiyanagi's "Extended Voices (New Version #2) (1967/2014). Housed in a cardboard paper gatefold sleeve. Includes newly-written liner notes in Japanese and English by the artist. Limited edition of 350 copies.
New 2014 repress. Remastered, expanded gatefold double LP version (briefly available as a single LP in 2001 and o/p for 10 years now). This version features new artwork by Tina Frank, based on the original 2001 Mego release. Contains "Ohne Sonne" and "47 Blues," previously only available on the Japanese CD versions, as well as a new, extended version of "Happy Audio," exclusive to this release. Endless Summer, originally released in 2001 by Mego, was a breakthrough album for Christian Fennesz -- the album which brought his name and music towards the first steps of mainstream recognition. Following on from the more experimental Hotel Paral.lel (EMEGO 016CD) and the Beach Boys-homaged Plays single, Endless Summer brought the guitars more to the front, the electronics shimmered more, and the melodies shined more brightly. It went on to become a classic of its time, topping many end-of-year polls. Cut at Dubplates & Mastering, Berlin, September 2010.
LP version. Includes download code and full color inner sleeve. Mind Fair are Dean Meredith (Chicken Lips, Goat Dance) and Ben Shenton. Over the last few years they have had a slew of 12"s out on Golf Channel, International Feel and their own imprint, Rogue Cat Sounds, but are only now dropping this, their long-awaited debut LP. It is a bluesy folk-funk swamp techno barnyard stomp of an album. It takes in influences from Krautrock to English psych through to classic Detroit techno, Chicago house and the (Italo) disco that inspired it. It somehow unifies these diverse threads and drags them into 2014 via a rave in the countryside. We go dancing on a hay bale at 10am in the sunshine in a pair of dungarees before collapsing on a friend's sofa and skinning up amidst friends jamming with acoustic guitars and bongos. Through it all marches the distinctive sounds that are Dean and Ben's hallmarks: chugging analog bass and deeply funky drums. All this is set to a loose concept of a night out at the quintessential English traveling fair manned by psychedelic freaks -- the fair of the mind. The vocal talents of Clover Ray feature, alongside other regular contributors Karl "Akuko" Miller (percussion & vocals), Tim Silver (ukelele!), Sadie Shenton Jones (vocals) and James Flanagan (vocals). Sumptuous artwork comes from Thomas Bullock aka Tom Of England of Rub N Tug/Map Of Africa fame.
LP version. "'Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Ze dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. I'm still surprised by what I wound up with. It was the first time I'd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasn't recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.' -- Liz Harris"
Pet 2000 (2014 Remaster)
This is the second of the 6-volume Surgeon reissues label SRX. Recorded one night almost 20 years ago after a bottle of whiskey, Pet 2000 imagined a future of mutated, mechanical animals. The title was inspired by an actual pet shop in Nottingham. Played by every techno DJ back in the '90s, it can still burn a hole in any dancefloor today.
Limited version, features a frontside hand-printed with linoleum stamp, numbered. Sunday Music goes deeper and deeper with this fantastic album release. It reflects the love of label owner Henrik Schwarz for jazz, contemporary, and chamber music. When Norwegian electro-jazz pioneer Bugge Wesseltoft and German house producer Henrik Schwarz produced their collaboration Duo, it was clear that their synergy was both unique within, and revitalizing to, the whole genre of electro-acoustic beat-based improvisation. Now the duo becomes a trio, and the dialogue becomes a Trialogue. Indie/jazz bassist Dan Berglund brings additional dimensions and a whole new range of songwriter possibilities, a completely new layer of sound with tastefully-chosen electronic, rhythmic patterns and drums, virtuosic piano-playing, analog synthesizers, and thumping double bass lines. Subtle but high energy walks through your speakers. Moments of quasi-ambient atmosphere sit alongside driving, energetic swathes of blues-inflected jamming from the future, near-metallic semi-sinister meteor storms of sound rest easily beside moments of classic jazz noire, and there is a marked assimilation of classical chamber sensibilities. This is a thoroughly post-postmodernist soundworld. What the listener will recognize instantly is, simply put, great music. Line-up: Bugge Wesseltoft (grand piano), (synthesizers), (percussion); Henrik Schwarz (computer), (small percussion); Dan Berglund (double bass). Features musicians from the Orchestre Philharmonique du Luxembourg.
11 Put Aside was compiled from Andrew McLellan's solo work as Cured Pink and is a critical precursor to the project's current incarnation as a four-piece band. Over the course of the record Cured Pink channels the same anxious energy of Cromagnon's sole LP for ESP Disk (1969) and shoves it onto the dancefloor. The B-side was recovered from destructive recording sessions across Indonesia, deep within Cured Pink's solo phase (2011). Cured Pink owns a specific Australian sound that references the gamut of avant-rock, dance music and power electronics, and these recordings are a singular piece of the puzzle that makes up Brisbane's unhinged and isolated scene.
First LP by somber Australian chanteuse Elizabeth Downey and instrumentalist Dan Hawkins. Nine bruised vignettes that will take you to the scraped bottom of love. Soft, caressing and subtly disturbing, Frightening Lights' songs move like menace through fog. Singer Elizabeth Downey says she first envisioned the songs as a kind of deathbed confession, their violence is carefully suppressed, modulated perhaps through long penitence. Shreds of instrumental sound -- a funeral organ, an off-kilter accordion, discordant bowing on a borrowed danbo -- flit in and out of the peripheries, creating eerie, flickery landscapes around Downey's sleepy murmurs. Downey formed Frightening Lights with her partner Dan Hawkins in 2007 after a sojourn in Russia, where she went to study fine arts and returned with a fascination for Russian and Polish folk music. Returning home to Melbourne, she found herself as drawn to Slavic influences -- including the Russian poet Bulat Okudzhava and Polish singer Slawa Przybylska -- as to rock artists like The Triffids, Rowland Howard and Marianne Faithfull. Back in Melbourne, Downey and Hawkins began recording at home on an enormous, two-inch reel-to-reel recording deck, working and reworking their spare material. Two of the duo's songs appeared on Melbourne compilations -- The Warm Cupboard from Albert's Basement label in 2009 and the Swan V Raptor on Dan Lewis' Special Awards Records in 2010. The rest evolved gradually into the dream-like textures of this debut full-length. Downey sings and plays guitar on this debut, while Hawkins mans a rack of keyboard instruments -- a Farfisa, a Hammond and an eerie Conn organ -- as well as bass. There are no drums on the album, almost no sense of time at all, as melodies float like smoke over blasted territories. Downey's lyrics trace elliptical connections between the novels she reads, the films she sees and the ordinary experiences of daily life. The opening "Père LaChaise" recalls a hazy interval in Paris, where Downey, sick with pneumonia, wandered nonetheless through the famous cemetery, deathly ill. "The Return of Genghis Khan" conflates her fascination with the Mongol warlord, a kitten that she once named after him and a romantic spat with her partner into a single, slow-moving fever dream. Artist Earl Kuck calls the Frightening Lights "almost Bad Seeds-like with female vox," and this self-titled debut has, indeed, some of the same eerie, subdued resonance as Cave's recent We Know Who You Are. If you like your menace soft, wrapped in lullaby sweetness and still profoundly unsettling, turn on the Frightening Lights.
Siren is the new recording project from Darshan Jesrani and Dennis Kane. Their first offering, "Gauntlet," is a moody, rich maelstrom of a song which embraces everything from heavy disco, to West African guitar, to soundtrack and theme music, to Adrian Belew. It features the guitar and bass work of Mark Dann (Left Field), percussion by Sal Principato (Liquid Liquid), vocals by Daniel Chavis (Apollo Heights, The Veldt) and spoken parts by legendary griot Vito Palmore to guide the way. A swirling, joyful, mesmerizing romp of a remix by the esteemed Ray Mang fills out the flip.
Cosmic Microwave Background
Double LP version.
Synewave Reissues Part I: 1995-97
Eighteen years after David Sumner's Function inception, Infrastructure continues its reissue series of classic Function productions, leading towards a double CD package entitled Function | Recompiled: Various Works & Pseudonyms, 1995-2012, due for release in November 2014. Both "F3" and "F4" are lifted from the F(Q): Function of Bandwidth EP, while "Shift F1," originally a shorter live session included on the F(C): Function of a Constant EP, has been edited and extended by label co-partner Ed Davenport aka Inland.
Pop Ambient 2015
LP version, pressed on 180 gram vinyl. Includes CD of full album. Since its inception in 2001, the Pop Ambient compilation series has played host to an incessantly growing pool of highly distinctive artists, yet somehow managed to stay focused on its overarching aesthetic ideas. Due in no small part to the series' curator Wolfgang Voigt, each installment was able to create a conclusive narrative, successfully deploying new talent alongside household names. Pop Ambient 2015 is no different, introducing debutant soundsmiths Thore Pfeiffer and Max Würden while welcoming returning Pop Ambient staples such as Leandro Fresco, Ulf Lohmann and Jens-Uwe Beyer. Starting off the selection with dreamy, jingling synth pads, Thore Pfeiffer's "Wie Es Euch Gefällt" turns out to be an instant Pop Ambient classic, followed by Thore's second contribution, a guitar-infused zone-out called "Nero" -- together, these immensely atmospheric cuts not only set the perfect stage for Pop Ambient 2015, but also speak volumes for this young producer's staggering talent. A former ally of iconic project Closer Musik, Dirk Leyers has since forged his own path, displaying a special fondness for blissful melodies and stylistic versatility -- he puts this to good use in the aptly-titled "Daydreamer," an irresistibly nostalgic synth epic sitting comfortably between neon lights and campfires. Meanwhile, multi-instrumentalist and composer Gregor Schwellenbach marries his avant-garde and folkloric leanings with the slow-moving, nonchalantly monumental "Assperg" -- a near-impossible track that feels as massive as it sounds fragile. Returning to Pop Ambient after his much-acclaimed appearance on 2013's installment, Leandro Fresco presents the entrancing "Nada Es Para Siempre," followed by Max Würden, the second newcomer on this compilation. A trained drummer and game sound designer by day, he is responsible for the enigmatic "Container Love," a masterfully composed cut that contrasts its sparse melodies with all sorts of rusty, dystopian sonics -- an inspired choice before Ulf Lohmann fills the air with cinematic washes of reversed sound on the cozy (but ultimately very alien) "Refresh." With Bvdub, Jens-Uwe Beyer and Gustavo Lamas, a trio of Pop Ambient regulars wrap up the class of 2015, and they do so in style: from "In White Pagodas I'll Wait for You" and "Möwen" to "Jovenes/Ambient Remake," all three producers opt for broad soundscapes and floating arrangements, resulting in a highly immersive set of panoramic electronic music and a well-suited closing chapter for Pop Ambient 2015.
"Light In The Attic has an impeccable reputation for uncovering rare and precious albums from the past. Their latest release, Sylvie, is haunting and out-of-time--but it is also a brand-new, original debut album, by a singer-writer who has been making music since she was a little girl but just for herself. Like Devendra Banhart says, Sylvie is 'a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful. Like Rosalie Sorrels meets the Only Ones.' Or Isobel Campbell on a lost desert night, maybe, with only the moon and a ukulele for company. The raw, delicate, and sensual songs about love and love gone wrong are performed on a ukulele, which here sounds like a broken harp or a heartbroken guitar. 'I'd always thought of the uke as a toy, a little handful of happiness,' says Sylvie, 'but not any more. My first ukulele--in fact all my ukuleles--came to me by accident, under strange circumstances usually involving mysterious, vanishing men. From the moment I picked it up, I fell in love. A uke has a sad, fractured sweetness and a modesty. It doesn't try to impress you, it almost apologizes for being there. The notes are like feathers; you play them and they're blown away in a second. And yet these songs kept coming through this tiny instrument with all their heartbreak and truth intact.'"
PEV/PEV & KOWTON
Aztec Chant (Tessela Remix)/End Point (Stenny & Andrea Remix)
This is the final installment in the Livity Sound remixes series. Huge remixes of tracks from Pev and Pev & Kowton from Tessela (R&S/Poly Kicks) and Italian duo Stenny & Andrea (Ilian Tape) of two of Livity Sound's biggest tracks from 2013.
Single LP version (not including the deluxe version's "bonus LP"). Includes a 16-page booklet. "Psychedelic rock record collectors have been repeating the name Heitkotter as if it were a mantra ever since the first copy of a hand-made demo LP turned up in a Los Angeles music publisher's reject bin, with nothing more than that word scrawled across a plain white jacket. Now-Again Records embarked some years ago on what seemed like a fruitless crusade -- to find out more about this Heitkotter, his music, his story. In the process, we've visited the house where this confounding album was recorded, found Heitkotter's musicians, rescued the demo-recordings that paved the way for this album, uncovered unpublished photos and paintings by the man behind the album, and are now ready to present the definitive look into a musical vision equal parts dangerous and peaceful, nihilistic and optimistic. It's safe to say the world has never heard something like Heitkotter -- it is a unique piece of art unlike anything that came before or has come after it. The bizarre LP known as Heitkotter -- recorded in around 1971 and pressed in a run of less than twenty five copies -- was the culmination of one Stephen David Heitkotter's artistic career. Ross Dwelle, Stephen's childhood friend and the drummer on the record, describes the bedroom sessions in a handsome Craftsman home in Old Fresno as this young trio 'trying to play five songs written by a man losing his mind... probably stoned the whole time.' Heitkotter, this time issued as Black Orckid, as we assume Stephen would have wanted it -- is too complicated to be written off as a symptom of a greater ill, or lionized by a few (and dismissed by the majority) as 'outsider' art. It's a rare and vital look at 60s and 70s American rock through the sad story -- and incredible music -- of an untethered soul. And as we hope to show in enlightening more of Stephen's backstory, it can also be considered sweet, kind and optimistic. The Heitkotter tale is cautionary, but Stephen's music is as close to the sublime as American rock has ever ventured."
Running Back's 50th anniversary comes courtesy of Redshape. After his utilitarian Bonuz Beatz effort earlier this year, the masked man is back on the monolithic techno tip. Graced with a sense of tradition and a modern style of execution, "Leaves" is the sort of warehouse rave signal that exceeds the sole purpose of a tool. Speaking of which, it comes in two different mixes to choose from accompanied by two unclothed versions for the creative DJ mind.
Subtext presents the soundtrack to Nimbes, an installation developed by James Ginzburg (Emptyset), Yair Elazar Glotman (Ketev), and Joanie Lemercier for the 360-degree dome at Montreal's Société des Arts Technologiques. The soundtrack, realized by Ginzburg and Glotman within the vast interior of Berlin's Kraftwerk power station, employs the reverberation of the space in response to the video's narrative of scale, time, and entropy. The contrabass and elemental percussion craft an evocative portrait of this industrial site, mapping an overarching texture onto the acoustics. Accompanied by remixes from Glotman and Eric Holm, with Holm making use of his custom-created signal chains.
Unified by dub's loose sense of space and deep sub-frequencies, CHLLNGR's unique amalgam of soul, pop, stripped-down beats, and decaying atmospheres has earned the Copenhagen-based artist, Steven Jess Borth II, adulation from press and peers alike. The nocturnal, murky worlds of his debut Haven and its follow-up EP Datter alluded to subtle pop possibilities featuring Borth's soft-touch vocals woven into structures indebted to modern R&B's sleek minimalism and the techniques set forth by dub reggae's chief architects King Tubby, Scientist, among countless other legends. An artist who shines in the collaborative process, Borth's acclaimed debut Haven featured Coco (of Quadron), Aku (of Dragons Of Zynth), Teachers, and he has been a consistent cohort of South African MC Spoek Mathambo, partnering in composing, production, and touring as Mathambo's multi-instrumentalist secret weapon over the past few years. CHLLNGR has been working on his next full-length for the L.A.-based Time No Place label. Recorded at the newly-built Red Bull Studios in Copenhagen, Borth took a different approach by recording most of the new record at a legitimate studio as opposed to his previous DIY methods. Again, a collaborative effort: the new album features contributions from up-and-coming vocalist JOSIAHWISE IS THE SERPENTWITHFEET, Grace Hall of Skin Town, Doctor Echo, Dusty Brown, Nikolaj Manuel Vonsild (When Saints Go Machine, Cancer) and the UK-based artist, Dels. Keeping much of CHLLNGR's signature moody starkness, his LP strives for brave eclecticism, digging deeper into his future-minded soul music explorations.
"The Invisible Hands is a transcontinental collaboration between Alvarius B. (Alan Bishop of Sun City Girls) and four stellar young musicians from Cairo, Egypt: Cherif El Masri, Aya Hemeda (both formerly of the popular Egyptian group Eskenderella), Adham Zidan and Magued Nagati. On Teslam, The Invisible Hands expand the already panoramic range of their eponymous debut LP with a haunting set of melodic, impeccably crafted songs whose vintage psych/hard-rock edge conjures up early Alice Cooper almost as often as it recalls Sun City Girls and 20th-century icons like Ennio Morricone and Serge Gainsbourg. The band's exquisite sonic palette is deepened by Cairo-based guest musicians Mohamed Ibrahim, Mohamed 'Moe' Asem, and Sammy Sayed, as well as by longtime SCG compatriot Eyvind Kang. Recorded in Cairo between 2013 and 2014, Teslam represents a further evolution of Alvarius B.'s peerlessly idiosyncratic pop sensibility, which is just as volatile and unclassifiable as his more experimental work. His songwriting -- both on his own, and in partnership with Cherif El Masri -- is marked by a unity of purpose that has compressed countless musical and emotional incongruities into a handful of sharp-edged, pitch-black jewels. A brooding track composed by keyboardist Adham Zidan ('The Great Implosion') perfectly complements the record's uneasy mood. As usual, Alvarius B.'s lyrics comprise an apocalyptic pile-up of cruel metaphors at the intersection of culture, politics and international crime. But they take on new power and new implications as sung by El Masri and Hemeda, whose seductive voices are as inviting as a welcome mat at the gates of hell. Each song stands on its own while also fitting into a planet-sized jigsaw puzzle detailing dark associations and secret narratives that stretch back as far as the foundation of the world. Arguably Alvarius B.'s most accessible work to date, Teslam is a generously baited steel-jaw trap for the unwary listener. Like The Invisible Hands' 2013 debut, Teslam inevitably reflects the precarious political circumstances in which it was conceived and recorded. As such, it's a vivid document not just of an unlikely musical collaboration, but also of a critical moment of hope, defiance, rage and sorrow in one of the world's most venerable cities. [This limited-edition razor-edged stainless-steel CD comes in a beautiful die cut balsawood jacket that folds out to form a fully operational guillotine. Just kidding, but it does come as a digipak CD with lyrics booklet and lovely artwork]." --B. Kearney
Dancing Wayang Records is thrilled to announce the imminent release of the label's ninth album -- Alps by Oren Ambarchi & Eli Keszler; a fresh yet seemingly inevitable collaboration of two musicians kicking against limits and genre definitions, recorded and presented with a similar disregard for anything but quality. Alps was recorded in June 2013 at Eastcote Studios in London. Thereafter mixed by frequent Ambarchi associate Joe Talia in Melbourne and mastered by Rashad Becker in Berlin, it comes pressed on 180 gram black virgin vinyl housed in the label's traditional hand-screenprinted wrap-around sleeves featuring cover art by Eli Keszler. Liner notes come courtesy of U.S. musician C. Spencer Yeh (Burning Star Core). Two vinyl-side-long pieces that mix improv, noise, rock, and drone, this is never an easy listen but always a compelling one. Both musicians are compulsive collaborators, with individual oeuvres that span all those genres and others yet to be labeled, and this album reflects and distills their hard-working heritage. They have a similar approach to questioning the fundamentals and exploring the sonic properties of their chosen instruments in a way that is informed by musical theory and learning but manifests itself in a defiantly non-academic, visceral and physical sound, both in intent and experience. Listening to Alps is a discomforting, uneasy and massively rewarding exercise, which denies the listener any steady ground on which to stand. This is evident from the moment that "Alps I" kicks off with piercing bowed cymbals. Percussive elements emerge from deep in the mix, drums without rhythm nor meter. Background and foreground shift tectonically and queasily. A chopping helicopter pulse hovers omnipresently over the battlefield of attacking drums and splintery bass beneath. It is a liquescent, rolling, never-still 20 minutes of multiple musical narratives. From the outset side B upholds the intensity. The conflagration of "Alps II" comes off like a tribute to classic Japanese psych; guitar proudly and consistently in the red, tsunamis of drum rolls. It has a defiant crudeness and rawness to its attack, which belies the intelligence needed to create such a rough-edged sound, the deftness needed to keep the truck-driving momentum on the road. 500 copies worldwide limited edition, pressed on 180 gram vinyl.
Kon Kee Lang Kwai (Man on a Water Buffalo): Essential Dao Bandon
LP version. This is the second release in the re-launch of EM Records' Thai music series. Paradise Bangkok, Soi 48 and EM have teamed up to deliver a series showcasing the extraordinary performances of some of Thailand's greatest musical legends. For reasons unknowable, certain places in certain eras become hotbeds of music, fertile in their growth and flowering of musical talent. Thailand in the 1970s was such a place, and Dao Bandon is one of the enduring greats of that era. Born in the farm country of the Isan region, Bandon came from a poor family and was a monk during his teens, two great influences which shaped him, with his farm roots grounding the earthy heart of his lyrics, and his years of monastic chanting lending a unique resonance to his singing. After an apprenticeship with some of the greats of Thai music, Dao Bandon began to enjoy success leading his own band. The songs here, released in the 1970s, showcase the infectiously joyful Bandon groove, his mellifluous voice, and his captivating melodic sense. His lyrics deal with sex, love, marijuana, and the struggles of the poor, but no matter what he sings about, a sense of good cheer is always evident. Featuring parallel translations of the lyrics, in-depth liner notes, rare photos, and of course, great music, Man on a Water Buffalo is yet another example of Thai excellence from EM Records. English & Japanese text with Thai, English, and Japanese lyrics.
Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album-size. After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus' synth-heavy electro-pop, with their collaborative electronic project Kiasmos. By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly-built studio in Reykjavik, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesizers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them recording the thumb piano, finger-snapping, and even the sound of the metal grinder of a lighter used to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere. Long-time Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing how he also designed the cover for their Thrown EP. Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavik, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.
Synewave Reissues Part I: 1995-97 12"
Damn Right, I Am Somebody LP + 7"
Stunts, Blunts & Hip-Hop 2LP
Tempa Allstars Vol. 7 2x12"
Pet 2000 (2014 Remaster) 12"
L'Esperanza (Ame Reinterpretation) 12"
The Opening of the Cerebral Gate CD
The Second Annual Report Of Throbbing Gristle 2CD
I Don't Want to Be a Rude Boy 7"
You-Turn (Visionist Remix) 10"
I'm Just Like You: Sly's Stone Flower 1969-70 2LP
Cosmic Microwave Background CD
Cosmic Microwave Background 2LP
Aztec Chant (Tessela Remix)/End Point (Stenny & Andrea Remix) 12"
Destination to the Sun 12"
Collected Works Part 01 12"
Trialogue [Deluxe Edition] LP
The Frightening Lights LP