Rare, previously unreleased outtakes from electroacoustic pioneer and Synclavier developer Jon Appleton and experimental jazz outrider Don Cherry's controversial electronic jazz experiments, recorded during the sessions for their 1970 Human Music LP at the Bregman Electronic Music Studio at Dartmouth College, New Hampshire. Released with the blessing and encouragement of Appleton himself, this absolutely essential record combines the creative technology that directly coincided with the dawn of Bob Moog and Don Buchla's synthesizer revolution with the homecoming of outernational free jazz -- two strains that, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond.
Cognition/Observation is the very necessary follow-up to Robert Aiki Aubrey Lowe's physically modelled modular trance impulses heard on Timon Irnok Manta, which was issued to critical acclaim by Type in 2012 (TYPE 111LP). Bypassing academic practice in pursuit of fluid, instinctive progression, "Cognition (Forbes)" and "Observation (Sophrons)" unfurl two long, knotted sequences entangling intricate West African drum patterns and visual motifs in a buoyant, propulsive abstraction of techno and earthed-yet-cosmic electronics. Bass is thick as treacle and buffered by a scratchy, semi-organic flux of dancing sparks and mbira-like metallic twang in "Cognition (Forbes)," before the same elements refract and tessellate in a more nuanced echo chamber sound, distinctly recalling the shape of Dynamo's 2002 classic Außen Vor (DIN CD01) as much as Hieroglyphic Being's hypnotic improvisations. Rarified, transcendent music of the strongest order. Mastered and cut by Matt Colton at Alchemy.
Double LP version. London-based Italian artist Alessio Natalizia aka Not Waving presents Animals, the project's most versatile album to date. It's an unruly yet emotive bender taking in dancefloor-mauling new beta and endearingly beery post-industrial synth music. Animals harnesses the wanderlust of Natalizia's spate of self-released albums and records for Ecstatic and Emotional Response but dials up the wildness, spitting out a careering sequence of tracks that feel as warped, deep-raved, and giddy as a night out in the city where they were forged. And make no mistake, although Animals occasionally bites hard at the business end of the dancefloor, this is Diagonal's most pop album yet, with Natalizia's songwriting sensibility conjuring moments of tenderness and beauty to offset the manic strobe lighting and dropping sweat. Opener "Believe" is one such moment, a twisting synth workout that bounces along over rock-ist live toms. The tie is loosened on "Head Body," as Not Waving unleashes a raging kosmic EBM showpiece that morphs across six sprawling minutes. Next up is "24," the album "hit" that delighted and destroyed dancefloors throughout 2015, with clear influences from Front 242 and Ancient Methods. The shunting "Gutsy" and whopping industrial stress-test "Work Talk" buckle down like mutant Powell cuts, whereas "I Know I Know I Know" and the thrashing EBM-pop of "Face Attack" run The Sound of Belgium (LMFLF 287CD/296LP, 2015) through a distinctly Diagonal filter, all smart edits and unruly arrangements. The great strength of Animals, though, lies in how Natalizia marries the clammy peaks of contemporary club music with oddly emotive runs into acidic Canterbury pop (as on "Tomorrow We Will Kill You") and cyborg despair (see "Punch") before the bittersweet "They Cannot Be Replaced." In short, this is Not Waving laying down some of his most sophisticated songwriting and finding an entirely appropriate home for his own distinctive sound. Animals is Diagonal's sixth artist album, following releases by Russell Haswell (including DIAG 024CD/LP, 2015), The Skull Defekts, Shit & Shine (DIAG 012CD, 2014), and Death Comet Crew (DIAG 006LP, 2013). Art by Diagonal whiz Guy Featherstone. Mastered and cut by Matt Colton.
After many years of putting out strictly vintage '60s/'70s/'80s reissues, Guerssen inaugurates its New Records imprint and (again) begins releasing albums from current bands that the label truly loves. New Records focuses on '90s-and-beyond psychedelia, hard rock, folk, progressive, etc. Listeners can expect Guerssen's usual attention to detail and nice artwork designs. The first release on New Records is the first vinyl edition, with new artwork, of Japanese band Khola Cosmica's overlooked 2011 self-titled CD. Hailing from Tokyo, Khola Cosmica are not your average "stoner rock" band. This brutal power trio plays some of the most extreme, psychedelic doom metal you can find. Long tracks featuring devastating, loud, in-your-face fuzz riffing, hypnotic drones, and dark atmospheres destined to destroy your mind. Remastered sound. Includes insert.
Limited edition of 300. David Toop's environmental beauty Life on the Inside is the audio companion (created and recorded in 2015) to French sculptor Pierre Besson's 2014 exhibition D'objets noires et de Choses carrées (Black Objects and Square Things). This 34-minute ambient track was diffused inside of the sculpture and has never been published before. An excellent addition to the David Toop discography and a must for any wide-ranging ambient fan.
Outlier: Recordings from Madagascar
Limited-edition LP with full-size insert of text and photographs by compiler Charles Brooks. This collection is an impeccable and crystalline assortment of beautiful music from the deep southwestern provinces of Menabe and Tulear in Madagascar, recorded and assembled by Charles Brooks. Brooks has made many friends in these lesser-travelled regions since the 1990s. Outlier: Recordings from Madagascar represents a compilation of his encounters from 2011-2012. "Madagascar is an island that would bleed into obscurity if not for the rhythm of its name and the mysterious tailwind that follows it. Filled with natural wonder, it's a land where places, conversations, and names are spoken with a liquid tongue, where people and setting come together to create a unique array of music and culture. Sites can become extraordinarily charged with an unseen presence where heavy air, summoned spirits, and a transformative energy collapse natural constraints of place. The Malagasy call this mingling of forces 'maresaka' -- a permeating vibrational aura. Maresaka pulls you in and places you in the moment, to participate through a saturation of sounds, smells, and colors. When caught inside this kind of atmosphere, levity comes; you release your anchors of self-control. Beautiful unfettered music surfaces. Here, that is to say where I've been brought to listen, music lives and moves. The artists represented in this compilation play, and their music has many different roles -- both natural and supernatural. Music can be performed as much as it can be recorded, but here it's mostly played. These exceptional artists share within such practice" --Charles Brooks, 2015. Performers include Manatsoa, Tanka, Angeline, Tafara Justin, Justin Velonjoha, Masy Germaine, Mony, Mahavita, Leonel, Lisa, Jean-Francois, Marinette, Vincent, Alvine, Tsingezo, and Taomanana.
Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Plank's studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Plank's studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al.
The work of an incredible, idiosyncratic, and obscure early-'80s French futurist DIY project lead by Jean-Luc Aimé (Univers Zero), this feature-length album of elusive recordings from rare vinyl and cassette co-op releases (collected as the first-ever LP of the project) represents the bone fide axis point where zeuhl-skool meets synthpop, dark ambient, and early electro. A lost art-ifact from a micro-genre in which ZED, Eskaton, and Heldon share outernational tape space with Vox Populi!, The Normal, Colin Potter, and Luc Marianni, this work occupies a unique place on the shelves of fans of early DIY electro and post-punk, while ticking the boxes of '80s VHS OST enthusiasts and followers of the growing interest in European cassette zine projects. These melodic, macabre pieces fuse multi-track cassette experiments with homemade special effects from the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive pop and reluctant techno, defining then deconstructing genres that have yet to exist. Stabat Stable were fueled by futurist gothic imagery and operated on a plane parallel to their European and American contemporaries; there are few artists like them, and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list, as the invisible glue for fans of the aforementioned anti-genres. File under "Not Yet."
Visionist's PAN sublabel Codes label presents Liverpool-based producer Ling's debut EP, Attachment. It's a data-centric collection built from field- and browser-recordings, loosely exploring the themes of habitual mental tendencies. "The idea that taking an instinctual interpretation of information potentially warps and distorts reality. If data triggers internal responses, it risks following a predetermined path that can stray from reality." The heavily processed sample material re-explores recordings collected between 2011 and 2015. Reconstructed within sound collages across the record, they strive to find an independent voice but at times back away in order to grapple with something else. Blending explorative futuristic sounds, Ling's glacial and at times glitchy constructions feature fleeting snippets of vocals or malfunctioning machines while dipping into tentative, broken melodies. Loose references to UK culture and contemporary sounds are restructured, offering moments of something teasingly familiar before withdrawing into abstraction. The EP was made in summer 2015 in Liverpool, mixed by Chris Pawlusek, and mastered and cut by Matt Colton at Alchemy. It features artwork by PWR Studio and Bill Kouligas with additional art by James Whipple.
Reissue of garage rock kings Thee Headcoats' long-out-of-print 1994 classic Conundrum on white vinyl. "Ripping off the Non-Entities of Yesterday / Influencing the Stars of Tomorrow..." So it was written on the back cover of the original Conundrum release, almost a decade before The White Stripes and The Hives broke through -- how prescient they were. Thee Headcoats were mainly Billy Childish (guitar, vocals), Bruce Brand (drums), and Johnny Johnson (bass). They formed in 1989, after Billy Childish's previous band, Thee Mighty Caesars, gave up the ghost. By 1992 they had already released something like six albums and 15 singles. Conundrum was originally released on the legendary garage label Super Electro Sound Recordings (cofounded by Steve Turner of Mudhoney) in the USA, and later by Billy Childish's Hangman's Daughter label in the UK; it's been unavailable since the mid-'90s, until now. It features two of Thee Headcoats' classic singles, "Every Bit of Me" (originally a 1993 Damaged Goods 7") and "Girl from '62" (a Regal Select single from 1991). "'Every Bit of Me' alone has enough rough-voiced and snarling garage punk power to shame wannabes half the age of Childish, and that's just the first track of 14. His witty, blunt, and passionate views on life, love, and lust are as strong as ever, while the band sounds particularly great, still embracing the rough-and-ready Toerag Studio sound but cutting the musical crap and kicking out jams like nobody's business." --Ned Raggett, AllMusic
"Lovely, mysteriously canted debut LP by the new Austin-based quartet put together by Aaron Russell (ex-Cherry Blossoms, Weird Weeds, etc.). The music on Bay of Seething is instrumental, and rolls with a very cinematic feel, as though it were the soundtrack for some sort of rather sad, but highly psychedelic, movie. Sonically, if you need easy handles, the sounds are probably closer to Weird Weeds' than to Cherry Blossoms', perhaps because bassist Lindsey Verrill is a Weeds alum as well. But perhaps not. The blend of Aaron's guitar -- sometimes raw and heavy, sometimes more in the electro-folk mode -- with Sheila Scoville's synth, Verrill's bass, and Carolyn Cunningham's drums creates a dynamic and surging whole that's hypnotic and rapturous. Curiously, Moonsicles grab neither of the easy tropes that have lately been the stock-in-trade of instrumental units -- orientalia and spaghetti westernism. Their approach is straighter in a way, more based on proggy rock-qua-rock without nodding to either the far east or the faux west. The more the record plays, the deeper you'll sink. So grab yr duvet and prepare thyself for a solid ride" --Byron Coley, 2016. Limited edition of 300.
A leopard can't change its spots and Magnus International earned his spots in the hue sequence of Oslo's disco scene. "Disco is the single thread that runs through all electronic dance music." After an inconsistent hiatus from recording, the Norwegian DJ finally dons the producer cap for his debut album. Echo to Echo is the artist's magnum opus, taking on epic proportions in its album-length narrative. Prins Thomas's Full Pupp family plays hosts to Magnus's infectious disco arrangements, as it has done since Magnus International and Danny "Blackbelt" Anderson first worked together as Kalle, Magnus & Daniel in the mid-2000s. Tracing a line from those early days through his first solo work (the 2006 Kosmetisk 12"), Echo to Echo sees the producer combining the foundation of his sound with influences including Warp's early catalog, transposing it into the singular voice that is Magnus International. "I wanted to go back to Techno from my Youth." Borrowing inspiration from the likes of LFO and Aphex Twin, Magnus spent two years in the studio refining a hybrid album in which disco is deeply ingrained, but which grows its own spots with the acid-infected synth work and inventive beat-arrangements that were the signature trademarks of those early pioneers. Titles like "Big Red" and "Echo to Echo" are clear nods to these demi-gods of music, which Magnus International makes his own in the context of a disco long-player. It's an album built on the foundation of Magnus's strengths as an experienced producer, innovator, and DJ. Forged in the cauldron of techno's rich history, with Magnus's distinct style playing host, Echo to Echo takes the listener on journey that transcends time. "If I can hop into my Delorean and punch in a destination, five years from now, I want my music to have the same effect." Magnus International didn't change his spots for his debut; he merely grew into them, and Echo to Echo sees them at their most impressive.
LP version in tip-on sleeve with insert. ". . .we can make [enough] progress inside our heads and the heads of our friends to lay the foundations of an intergalactic life more meaningful than our earthbound condition . . ." --John Peel, International Times
First reissue; remastered sound. Includes full-color booklet containing informative liner notes by collector Jack D. Fleischer prepared from artist interviews, as well as full lyrics and rare photos. Mirroring the sentiment of the prescient UK radio legend in his Vibrations column for the International Times in the '70s, LightDreams leader Paul Marcano took one step beyond his intimate colleagues and chose to spread his ideals concerning peaceful outer-space colonization to all with open ears. Islands in Space, dotted with acoustic jams, backward guitars, lyrics alluding to the British progressive era, smoking-hot electric leads, synths galore, and the dreamiest of melodies, is both Marcano's love letter to the work of science-fiction author Gerard K. O'Neill and the psych-tinged folk explorers who came before him such as McDonald and Giles. Originally privately issued in 1981 in an edition of 1,000 copies, Islands in Space explores space travel and cosmic ideology in a sci-fi psych odyssey and is filled with atmospheric, lysergic creations atop a hybrid of sounds from the cosmic psych/progressive folk/new age spectrum. Home-recorded (yet hi-fi), Islands in Space carries a singular quality, defies easy categorization, and has long been savored by collectors of otherworldly joys. This singular, beatific work now has another chance to shine from Earth's surface to the outer reaches of the galaxy. RIYL: Dreamies; Donovan; Pete Fine; Robert Lester Folsom's hazy, synth-led moments; McDonald and Giles; Ramases; Simones; the out-of-time bliss of Bobb Trimble; et al.
180-gram vinyl. Following a six-year absence from music while he rebuilt his health, Miles Davis erupted back onto the live scene in 1981 with a new, young band comprising Bill Evans (sax, flute), Mike Stern (guitar), Marcus Miller (bass), Al Foster (drums), and Mino Cinelu (percussion). This incendiary set was taped for FM radio broadcast at the Sun Palace in Fukuoka, Japan, on October 11, 1981; the complete broadcast is presented here in digitally remastered sound with background notes and images.
Luke Vibert follows 2015's 4, his first album as Kerrier District since 2004, with an EP of remixes of album tracks. Ricardo Villalobos and Max Loderbauer's remix of "Sexspurt" shimmers and glistens over its 12-minute duration as the psychedelic soundscape unfurls over bubbling bass frequencies. Strahil Velchev aka KiNK, number-one in Resident Advisor's "Top 40 live acts of 2015" poll, churns out a frenzied club rework of "Techno Disco." Head High aka Shed slams down a relentless and rolling drum mix of "Come on Kerrier," irresistibly funky with its heavyweight '90s-style beats and infectious melodies.
"Originally released in Turkey 1973, Özkent's masterpiece (creation) of an all instrumental Turkish Psychedelic Funk album, filled with classic beats and breaks still inspires long time fans and first time listeners. The funky rhythms, hypnotic percussions, and heavy break beats makes this a holy grail amongst DJ's and music fans alike. Only a handful of copies from the original pressing are known to still exist making this reissue a welcome addition to any record collection. The concept is very complicated, futuristic and free from categorization. Traditional folk songs mixed with rock, jazz, blues, funk and psych. Özkent took traditional turkish folk songs and reconstructed them for the new 'hip' generation. It was recorded live in just one day with some of the best studio musicians in Turkey. The band was made up of 2 drummers, 2 guitarists, 2 percussionists, a bassist and a Hammond B3 organist. Özkent created his own unique guitar sound by adding extra frets and a clutch of effect pedals in order to create quarter notes and emulate turkish traditional scales. Mustafa Özkent has since made arrangements for hundreds of other artists in Turkey. But this unique album documents his most revered work. In the more than 40 years since the Mustafa Özkent Ve Orkestrası recorded Gençlik İle Elele, it seems that the world is still just discovering this gem."
180-gram LP version in gatefold sleeve. Includes download code. Edition of 300. Reinhold Friedl and his zeitkratzer ensemble perform Friedl's Kore, an homage to Greek-French composer Iannis Xenakis. A natural advancement of Friedl's composition Xenakis [A]Live!, released in 2007 by Asphodel, Kore was conceived for nine amplified instruments, demonstrating zeitkratzer's well-established tradition of instrumental amplification (e.g. its early collaborations with Zbigniew Karkowski and Merzbow and its 2010s collaborations with William Bennett of Whitehouse (including ZKR 017CD/KR 019LP, 2014)) in which amplification not only makes things louder but also offers a microscopic perspective on sound that situates acoustic microsounds in a completely new context. References to seminal Xenakis tape compositions like Persepolis and La Légende d'Eer are audible in the materials, textures, densities, and sound masses performed by zeitkratzer, with a physical quality that creates a huge sonic architecture. Recorded live in January 2013 during the klub katarakt festival in Hamburg, Kore adds a stunning chapter to zeitkratzer's audacious catalog and a new sort of intensity to contemporary chamber music. This zeitkratzer lineup includes Frank Gratkowski, winner of the German SWR Jazz Prize; Norwegian French horn player Hild Sofie Tafjord, also known for her noise duo with Maja Ratkje; British trombonist Hilary Jeffery, who has toured with Jimi Tenor among others; Marc Weiser, cofounder of Berlin's CTM Festival; and bassist Martin Heinze, from the Berlin Philharmonic orchestra. Rashad Becker was responsible for sound and recording. zeitkratzer, directed by Reinhold Friedl: Frank Gratkowski, clarinet; Hild Sofie Tafjord, French horn; Hilary Jeffery, trombone; Reinhold Friedl, piano; Marc Weiser, guitar; Maurice de Martin, drums and percussion; Burkhard Schlothauer, violin; Anton Lukoszevieze, violoncello; Martin Heinze, doublebass. Mixed and mastered by Ralf Meinz.
Double LP version. Includes CD. Known for dramatic dance tunes that have found their way onto labels such as Innervisions, Last Night On Earth, and their global event brand and record imprint Just This, Italian duo Hunter/Game has developed a uniquely expressive yet subtly arranged variant of techno. The two producers based in Milan and New York turned in two installments for Kompakt's Speicher dance couture series in 2015, with "Hexagon" (KOM EX083EP) reaching the number-one spot on Resident Advisor's Top 50 Charted Tracks February 2015 list. For Adaptation, their full-length debut, Emmanuele Nicosia and Martino Bertola decamped to a chalet in the Dolomite Alps near a ski resort closed for the season, which, as they explain, is "precisely where we came up with the concept for Adaptation." Contemplating biological evolution and the development of contemporary society side by side, the album's track titles and sonic details refer to "the adaptation of the human being to the modern metropolis as well as the adaptation of music to a collective technological era that has become the manifesto of our generation." While that might seem like a particularly broad and abstract scope for a techno album, it evidently informs its flow, from the gauzy "Intro (Walking Unobserved)" and the slowly unfurling, string-laden "Declino" to the sweeping title-track, the brooding banger "Origins," and the lyrical "Silver." Morphing ideas, melodies, and textures with consummate ease, Hunter/Game constantly find missing links between sounds, switching from foreboding melancholy to glorious serenity in a heartbeat while keeping the arrangements clearly outlined and impactful. With a background in painting, sculpture, and architecture and a distinct interest in abstract expressionism, both Nicosia and Bertola are well equipped to deal with complex concepts in an immediately comprehensible manner, as can be seen in the artwork for their Just This imprint and Adaptation's cover; inspired by Möbius and M. C. Escher and produced in conjunction with long-standing creative partner Artiva Design, these deceptively simple forms aim to expand their two-dimensionality into a third dimension by pure imagination -- "just like the music," as the artists like to add. It is said that simplicity is the ultimate sophistication, and indeed nothing could be more applicable to Adaptation, with which the duo presents a full-length exploration of a distinct sound cosmos, at once coy and bold, and with each cut focusing on yet another artfully executed twist supplementing the no-fuss, all-impact setting of beats, bass, and synths.
Dragging a Dead Deer Up a Hill
2016 repress; LP version. "New reissue of Grouper's breakthrough 2008 album."
"The latest LP from veteran fluxus composer Philip Corner. OM Entering. and Once Enterd comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007. 'OM ENTRANCE. OM ENTERTRANCE. which one does....because the performance is a real "passage from the material to the spiritual" unless the "real" world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians' coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone. My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost 50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too. The movement from SANG/TEH (SITUATIONS). Guard duty in a cold Korean winter. This piece was a major turning-point in my work. My life too you-could-say. "Of Ancient Times and Modern Sounds" i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their "Ah Ahk" court music ("Soo Je Chun" the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West. Public performance in Seoul. That must have been the Spring of 1961 just before they "shipped me out", to bring all that back home. Before that the wonderful and exceptional opportunity to "run through" some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival. But my long-waiting-for performance in Korea on native instruments has yet to take place. The CHOPIN PRELUDE piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the "as a revelation" series which "looks into" moments from the classics which usually go by too fast. Begun with Mozart, the series has "got a lot of mileage" out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz,, and others.' (Philip Corner, 2015)"
Brussels-based French producer Maoupa Mazzocchetti follows acclaimed productions on Unknown Precept, PRR! PRR!, and Mannequin Records with his full-length debut, Laugh Tool. Mazzocchetti resurrects the earlier days of electro-industrial in a mixture that recalls the late-'70s/early-'80s period of Fad Gadget, Throbbing Gristle, Portion Control, Cabaret Voltaire, and Front 242 crossed with the more fresh and innovative deep electronic experiments of Beau Wanzer and Charles Manier. Driven by a DIY ethic and a punk ideology, Mazzocchetti records his work in his bedroom without any professional equipment, using analog synths and sequencers, modified drum machines, tape loops, and lots of effects pedals. Florent Mazzocchetti (aka Maoupa Mazzocchetti) began experimenting with rhythm at an early age. He developed a passion for the drums at the age of ten but soon got into rock records and switched to guitar, which became his main instrument and shaped his perception of music. To an audience of contemporary electronic music consumers who have only closely followed techno, house, electro, and disco, the sounds of Laugh Tool will appear unearthly and entirely unexpected. It's an album of ten tracks ready to change minds. Artwork by Florent Mazzocchetti. Mastered by Rude 66. Limited edition of 500.
Navigating by Starlight
"Navigating by Starlight is the elegantly distended fourth LP by a New York band known for its fine taste in bourbon as well as its ability to explore strangely forested nooks of space. Composed of two side-long excursions of heavily bearded improv, this is what Bruce Dern should have been listening to throughout Douglas Trumbull's Silent Running. The first side is called 'Lovejoy Vapor Trail,' after the recently discovered comet said to be releasing enough alcohol to fill 500 bottles of George T. Stagg every second. Who could fail to be staggered by such a suggestion? Not these guys. Dave Shuford's guitar vomits stars in all known directions, Jimy SeiTang's bass and synth cover the proceedings with a blanket of darkness, and Rob Smith's drums drive things along like a pulsar. The flip, 'Scylla and Charybdis,' continues Rhyton's linguistic love affair with Ancient Greece. But with Shuford on electric mandolin, and the rhythm section picking their way between the twin threats more carefully than usual, the band creates a vibe that is more space-swamp than whirlpool (at least in this writer's opinion). By which I mean its method of sucking you into its vortex is staggered rather than continuous. Of course, once you've stuck your head into Rhtyon's sound-barrel, the specifics of destruction don't matter much do they? 500 bottles of Stagg a second . . . that would sure take care of the world shortage, wouldn't it?" --Byron Coley
After crafting Kykeon, the most detailed and finely intermeshed recording of their output, the cosmic compatriots Rhyton decided to get back to basics and kick out the jams with both ferocity and stateliness. Navigating by Starlight features two sidelong improvised slices of molten music recorded by the redoubtable Jason Meagher at apex temperatures at his Black Dirt Studio in upstate New York. The first side, "Lovejoy Vapor Trail," follows a journey from an initial solemn invocation through areas of blinding scree toward a summit of relaxed but rough and tough guitar elevation. The second side, with its natural bifurcation, was an instant composition of two halves that balance perfectly and exhibit a subdued menace.
"One man band Jesse Fuller's first recordings from 1954! Jesse Fuller was a truly unique one man band who played blues, spirituals, ballads and folk songs. On these recordings we find Jesse playing guitar, harmonica, kazoo and the footdella (a bass that Jesse built which he plays with his feet). One of the greatest folk musicians of all time in his prime. Features top tunes - San Francisco Bay Blues, Railroad blues, John Henry, Lining the tracks, Hanging 'round a skin game and the Railroad work song. Comes with liner notes with two unpublished photos of Jesse. Limited edition of 1,000 copies. A co-release with our friends at Secret Seven Records."
2016 repress; gatefold exact repro reissue of Don Cherry's classic Eternal Rhythm Group, recorded at the Berlin Jazz Festival, 1968. An amazing line up of: Cherry (cornet, gender and saron [gamelan], flutes), Albert Mangelsdorff (trombone), Eje Thelin (trombone), Bernt Rosengren (tenor sax, oboe, clarinet, flute), Sonny Sharrock (guitar), Karl Berger (vibes, piano, gender), Joachim Kühn (piano, prepared piano), Arild Andersen (bass), & Jacques Thollot (drums, saron, gong, bells, voice). Two "side-long" pieces with gamelan underlining for the perfect gush of cosmic interlude.
From Middle-Eastern dancehall madness, freaky jazz experiments, and heavy dub psychedelia to beautiful piano trips, dark machine raids, and spaced-out traumas. From here to there -- out there, and everywhere. This is the sound of Danish sampling duo Den Sorte Skole's 78-minute album Indians & Cowboys. Here, forgotten musicians from the communal musical treasury come together to jam in a global ghost-orchestra crossing time and space. Indians & Cowboys follows Den Sorte Skole's monumental sample-based 90-minute triple-12" Lektion III (2013), a magnum opus that earned them the Danish Critic's Composer of the Year 2014 award and won them an international following, and which Sasha Frere-Jones included as one of six titles in his "What I Missed: 2013 Albums" list for The New Yorker. Den Sorte Skole take their strictly sample-based methodology to even more extreme territories on Indians & Cowboys. With an immense amount of samples, even finer-stitched collage work, even more diverse musical energies, and a renewed complexity of composition derived from the duo's work as composers in residence with the Danish National Chamber Orchestra, this is arguably the most ambitious sample-based album ever made. Indians & Cowboys is self-released by Den Sorte Skole. None of the samples have been cleared, but all of the samples are listed on the sleeve; contemporary copyright law makes it practically impossible to clear the number of samples involved in Den Sorte Skole's work, and the duo insists on challenging a system built by big businesses to favor mainstream artists and big record companies. But by revealing their sample-sources, Den Sorte Skole hopes to pass on knowledge, spark interest, and give credit to the forgotten musicians upon whose shoulders Den Sorte Skole -- and the rest of the music business -- stand, build, and create. Includes fully illustrated 32-page booklet.
Three Pieces for Two Pianos CD
Death's Invitation/Let the Record Spin 7"
A Hora e Essa/El, Voce, Psui! 7"
Four Organs/Phase Patterns CD
Return to the 36 Chambers: The Dirty Version 2LP
Bizarre Ride II The Pharcyde: Instrumentals LP
Jimmy, Renda-Se/Kizumbau 7"
The Sleeping Bag Sessions 2LP
Dragging a Dead Deer Up a Hill LP
The Man Who Died in His Boat LP
Bicentenary Blues: Boarding House - San Francisco 1976 CD
Real Good Time Together: Radio Broadcast CD
The Muffin Man Goes to College (featuring Captain Beefheart) 2CD
The Walk/Keep on Talking Remixes 12"
Bravery, Repetition And Noise LP
Jukebox Mambo: Rumba & Afro-Latin Accented Rhythm & Blues 1949-1960 2LP
Jukebox Jam!: Blues And Rhythm Revue 2LP
Scoring Clubs Pt.2 EP 12"
Sun Palace, Fukuoka, Japan October '81 2LP
Um Piano nas Barricadas LP
One, Six (Prins Thomas Mix) 12"
Real Cool Baby/Never Never Time 7"
Enban Live at the Strange Fruit LP
Ultrissima on the Junk's Moon LP
A Glimpse of Another Time 7"
The Dark Side of the Moog Vol. 1-4 5CD BOX
Break Through In Grey Room LP
Navigating by Starlight LP
Obsessed by an Innocent Blind Old Man 2x12"
The Agora, Columbus, Ohio, October 17th 1972 2LP
OM Entering. and Once Enterd LP
Down to the Bone (An Acoustic Tribute to Depeche Mode) CD
Glory, Dominion, Majesty, Power - Half Moon Productions CD
Glory, Dominion, Majesty, Power - Half Moon Productions 2LP
Music of Xinjiang: Kazakh and Uyghur Music of Central Asia LP
Working on the Railroad 10"
Bananafish Gardens, NY CD
Live à La Gaîté Lyrique CD
Flesh Of My Skin Blood Of My Blood CD
Flesh Of My Skin Blood Of My Blood LP
Outlier: Recordings from Madagascar LP
Alien Nation: Collected Singles Thus Far LP
Down to the Bone (An Acoustic Tribute to Depeche Mode) LP
Live from the House of Soul DVD