Kahraba is the debut studio album of Islam Chipsy's EEK. Recorded in late 2014 in downtown Cairo, it contains four tracks perfectly representing Chipsy's wild and inimitable artistic spectrum, ranging from the frenzied sound signature technique that brought him his fame ("Trinity" and "Kahraba") to the band's individual maneuverings of typical Egyptian standards such as the Northeastern Nile delta "Simsimiyya" in "El-Bawaba" or Upper Egypt's traditional "Mouled Saidi" in "Mouled El-Ghoul."
Following their 2013 mini-album Healing (AUK 108CD/LP), Weird Owl are back in 2015 with a full-length titled Interstellar Skeletal. For the first time since their formation in 2004, Weird Owl have kept the same lineup for consecutive releases, and Interstellar Skeletal reveals further explorations into the psychic canyons mined on Healing. Their psychedelic postcards are written in the cosmic breathiness of the synthesizer and the alien ululations of a guitar tuned to secret frequencies, rumbling through the ages on illuminated rhythmic grids. Each track on Interstellar Skeletal serves as an interdimensional portal to free zones beyond the usual terrestrial veil, whether it is via odd jungle shamanism ("Silver Ziggurats"), the WWII bomber as spiritual metaphor ("Flying Fortress"), death personified as an albino lycanthrope ("White Werewolf"), or the unsettling might of an extraterrestrial deity crashing a beach picnic ("God"). Interstellar Skeletal was recorded and mixed by Jeffrey Berner (Psychic TV, NAAM, Dead Stars) at Galuminum Foil Studio in Brooklyn in the fall of 2014, following Weird Owl's first-ever European tour. Although neither meticulously aped nor mindlessly conjured, the familiar influences of Spacemen 3, The 13th Floor Elevators, and The Brian Jonestown Massacre continue to find a home in Weird Owl's music, perhaps mostly in spirit form. Weird Owl was formed in Brooklyn, NY, in 2004 and has released two full-length LPs on Tee Pee Records, a mini-album on 'a' Recordings, Ltd. and several self-released EPs, including 2007's Nuclear Psychology. Their presence and longevity in the New York psych scene has garnered international attention and they have shared stages with bands such as The Brian Jonestown Massacre, White Hills, NAAM, Graveyard, King Tuff, Hopewell, Earthless, The Lovetones, Sleepy Sun, Assemble Head in Sunburst Sound, Quest for Fire, Spindrift, The Black Angels, Spectrum, Wooden Shjips, and others, including at the 2011 Austin Psych Fest and the 2014 Eindhoven Psych Lab in the Netherlands. As of this release, Weird Owl is John Cassidy (bass synth/bass guitar, synth), J. David Nugent (synth, vocals), Sean Reynolds (drums), and Trevor Tyrrell (vocals, guitar, synth). Anton Newcombe states: "The message is one of cosmic harmony and simplicity. The perfection of geometry and above all, beauty. Sometimes the messenger is a man and sometimes the messenger is an owl." CD includes one exclusive track.
WIZZZ! French Psychorama 1967-1970 Volume 3
LP version. Includes six-page booklet. One, two, three... hold your breath for 40 minutes for a peregrination through a special kind of pop music "made in France" between 1967 and 1970, a mix of ribaldry, flashes of brilliance, and adventurous twists on familiar sounds. We will plunge into French-style pop, unapologetic and defiant; blue-white-and-red pop that does not take itself seriously, not out of line with its "yé-yé" contemporaries, who were themselves uninspired by the boring, commercial teenage music that dominated in France at that time. It is pop music fueled by creativity -- though not always well-focused -- with peculiar arrangements, inspired compositions, and precarious production... but oh so tasty! WIZZZ 3 spotlights French artists who dared to try, to experiment... Includes tracks by Dansez avec Moa, Bernard Chabert, Joanna, Pierre Paul Jacques, Evariste, Jean-Bernard de Libreville, Crischa, Long Chris, Nato, Papy, Fatty Nautty, Balthazar, Jane et Julie, Bruno Leys, and Marcel Artero.
Thomas Brinkmann is renowned for audio works that hover among forms such as techno, minimalism, and ambient. Alongside such pioneering works as Klick (2000), Studio 1 - Variationen (1997), and 2012's duo with Oren Ambarchi, The Mortimer Trap (BT 006CD), with What You Hear (Is What You Hear) Brinkmann moves further to separate his art, not only from descriptive musical terms that oppress creative output, but also from the notion of an author in the act of creation. The 11 tracks on display form a series of self-perpetuating rhythms that exist more as sound structures than as any kind of traditional sound forms. Any associations, emotions, and reactions are purely in the reasoning of the listener as the artist makes a strong and deliberate move away from intent. This is a strident development in the conceptual thinking of Brinkmann's solid career, one that places the listener simultaneously inside and outside objective parameters. Dedicated to Zbigniew Karwkowski. Design by Stephen O'Malley.
Channeled madness -- the sound Dawn of Midi spent years shaping culminates in their most mesmerizing work yet. With Dysnomia, the Brooklyn-based group abandons improvisation in favor of composition, utilizing sophisticated rhythmic structures from North- and West-African folk traditions to weave a sonic tapestry of trance-inducing grooves. "We didn't want to create anything cerebral," says pianist Amino Belyamani, "we wanted something visceral, something that would awaken our instinctive dance impulses." The manner by which a trio of solely acoustic instruments ends up sounding like electronic music has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio's critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi's sets are as energetic and rhythmic as a seamlessly mixed DJ set, mesmerizing fans in the same way the group's favorite experimental and electronic acts have for decades. The album was recorded to two-inch tape at Waterfront Studios in Hudson, New York, a former church that was purchased and transformed into an analog recording playground by the great engineer Henry Hirsch. Rusty Santos then mixed the album to make sure it would hit as hard as the group's favorite electronic albums do in spite of being entirely acoustic. "We wanted to make a record that sounded both musically futuristic and sonically vintage," explains bassist Aakaash Israni, "and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting." Swiss artist Fabian Oefner created the cover image by placing paint on a spinning drill bit and firing it at a canvas, then capturing it with high-speed photography. Formed in 2007, the band happened upon their name after drummer Qasim Naqvi casually uttered the phrase in reference to the improvised music the trio was making at the time; they had no idea that years later they would make an album like Dysnomia that would make their name appear fateful.
This album, originally released in 1972, can be put in the field of so-called "library music," records made for use in movies and TV productions, commercials, and for similar purposes to enhance the tension of the atmosphere in very dramatic scenes or accompany the more mellow and relaxed moments with lush harmony carpets. And of all these library albums, this is one of the most sought-after by collectors around the world due to the musical quality of its content. And so we sit back, relax, close our eyes and get ready for the movie that only exists in our imagination. Stringtronics take us on a journey from the dark city gorges of any North American metropolis, where steaming hot, funky, and jazzy rhythms amalgamate and are clothed in a veil of lush string arrangements, to the banks of the river Seine, where painters draw portraits of tourists and people sit in the sun, relaxing to the typical chanson melodies full of melancholy and joy. In there is a tinge of the 1950s exotica music here and there, alongside Latin grooves and some rock elements shining through in the soundscape. It is fantastic but not easy to categorize -- it could appeal to fans of US movie soundtracks from the early '70s and late '60s created by folks like George Clinton, but also to those who enjoy the early works of such electronic pop pioneers as Wendy Carlos, and to space-age pop aficionados. It is all here, and the participating musicians paint their melody-and-rhythm patterns with an enormous feeling for depth and emotion. A masterpiece!
Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!
One of the more delicate recordings of Sun Ra's 28-strong Arkestra, Sleeping Beauty drifts in on a cloud of cosmic dust, sounding unlike anything before or after. With drummer Luqman Ali keeping the narcotic funk, but with dreamy solos from other key Arkestra players like John Gilmore, Michael Ray, and Marshall Allen, no Sun Ra collection is complete without this LP. Inspired space-age lullaby music, originally released on Saturn Records in 1979.
"Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering '80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis was formed in London, England, in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music, and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies and 1950s graphics and comic book imagery, and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, Surface Tension/Connections on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton, and other live venues. Their first demo tape and 12-song New Mexico cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds, and Soundmaker. For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo that influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four-song 12" EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers.' This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10-year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black-and-white 160-gram vinyl and housed in a glossy gatefold silver-and-black printed sleeve, featuring all the song lyrics on the inside of the sleeve."
On the leading edge of NYC's underground music scene, Vito Ricci produced only a handful of self-released cassettes and one LP between 1983 and 1985, with most of his work recorded for experimental theater and performance art pieces. Taking their label name from Ricci's only LP, Music From Memory brings together a compilation of works by one of the unsung heroes of New York's downtown music scene. Starting out as a percussionist, Ricci's early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo, and Yousef Yancey. He quickly became involved in the avant-garde scene with spoken word performances, film scores for independent movies, and even performances with punk bands at venues such as CBGB's and the Mudd Club, and his compositions drew on all of these influences while channeling them through his experiments with synthesizers and drum computers. Drawing comparisons with New York's downtown no-wave scene, Vito's compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotizing ambient, meditative minimal-synth, dubbed-out electronic funk, and even left-field boogie. With most of Vito Ricci's music remaining previously unreleased, the compilation I Was Crossing A Bridge unveils Ricci's unique and visionary take on electronic music.
After moving to Denmark in 1972 and abandoning music for a spell, the legendary Spider John Koerner returned to the U.S. in 1974 to record an LP for Dave Ray's Sweet Jane label. The resulting record is one of the finest of his 50-plus-year career. As its title implies, the album displays a conscious move away from the folk-blues stylings of earlier recordings and toward an embrace of traditional American folk music. The enduring quality of its songs is evidenced by their continued inclusion on Koerner's set lists over 40 years later. This first-ever reissue of Some American Folk Songs Like They Used To is the fourth release by Koerner on Nero's Neptune. Available in a limited artist's edition of 300 numbered copies, the record is mastered from remarkably well-preserved first-generation reel-to-reel tapes. The lacquers were cut by Ralph Karsten at Atma-Sphere, and the LP pressed at RTI. There is no digital technology used at any point in the process. Not only is the sound better than on the original 1974 release, but the beautiful, hand-printed covers feature new and improved artwork from a woodblock designed by Nero's Neptune art director and recording artist Paul Metzger.
In celebration of the opening of German national park Hunsrück-Hochwald, Wolfgang Voigt has conceived an abstract, ambient-infused sound installation which can be experienced as a kind of "acoustic hike through the forest," thanks to a series of loudspeakers allocated in a natural environment. This approximately hour-long piece of music is a freeform improvisation on a classic sonic scenario made of strings and winds, processed with electronic means. The rather elegiac billows of sound flow into each other and part again, like a musical early morning fog in a "reverse-enchanted" woodland. They weightlessly trek alongside auspicious shadows of atonality, across gentle hills and valleys, through gleaming clearings into eternity. The visual equivalent to this fantasy can be found on the CD cover, by way of a hypnotically focused view of a forest and its intricacies -- harkening back to Voigt's Gas concept series and the '90s albums Königsforst, Zauberberg, and Pop. As with Gas, both the music and the visual design of Rückverzauberung 10/Nationalpark formalize an essentially Voigtian simultaneity of an idea of romanticism based on nature-induced rapture and an approach to the beauty of surfaces trained by pop art. Nationalpark is the tenth part of the open concept series Rückverzauberung.
D.R. Hooker was a musician from the Connecticut scene of the early '70s who gathered a bunch of willing hired guns to back him up instrumentally for his debut hard psych/prog album, The Truth, which was originally released in an edition of 99 copies in 1972. There may be more obscure records (like Stonewall's sole album (KIS 4004CD/LP)) with print runs of even smaller sizes, but D.R. Hooker's The Truth is definitely one of the most iconic records in the field of US hard rock. Despite a somewhat rough and unpolished sound, the music is definitely intriguingly composed, well executed and backed with feelings of peace or passion, depending on the song. The fervid opener "The Sea" is one of the best testaments to the brilliant songwriting ability of hippie singer/songwriter Donald R. Hooker. A pulsating rhythm of regular drums and obsessively beaten percussions, held together by an ever-pumping bass guitar, is the background for an epic, picturesque vocal melody riding on a guitar stampede with excessive leads. The following tracks include a gentle pop tune, a steaming funky rocker with an easy and relaxed vocal line, and another quite progressively structured composition of crushing heaviness. Each note here is captivating and will inspire you down to the bare bones. Hard to compare this music but it ranges from pop psych of the highest order in the vein of the Strawberry Alarm Clock, to powerful late '60s rock with a funky attitude as played by so many rock bands those days, to thought-provoking singer/songwriter tunes in the vein of Neil Young, Nick Drake, or even Donovan, with alternately lush and sparse arrangements. And there's way more than that. Haunting synthesizer lines on powerful guitars build an epic beginning for a fuzzed-out yet relaxed garage rocker that could be a lost outtake of a Jefferson Airplane session with The Seeds. The whole album bears a homemade feeling and creates a very imaginative atmosphere. Next to the ten original tracks of The Truth, this reissue also includes six of eight songs that were recorded in 1974 and released in 1979 as Armageddon, coming on with the same power as The Truth. '60s psychedelia, dramatic pop, progressive power rock, and great folky bits and pieces flow into each other. The result is music in full blossom, colorful and thrilling.
First reissue of While the Recording Engineer Sleeps, the first album by The Cocoon, recorded in 1985 and originally released in 1989. The Cocoon was a kind of psychedelic supergroup featuring legendary figures of the German music scene of the 1960s, '70s, and '80s: Gunter Hampel (vibraphone, piano, flute, bass clarinet, lead vocals), Jürgen Gleue (lead vocals, bass, guitar), Matthias Arfmann (guitar, bass organ, electric piano, lead vocals), Rüdiger Klose (drums, vocals), and Thomas Keyserling (flute, alto saxophone). Most songs were written by Hampel and Gleue with Gleue providing the lyrics. The legendary jazz composer, bandleader, vibraphonist, bass clarinetist, flutist, and baritone saxophonist Gunter Hampel is one of the most influential musicians, composers, and pioneers of the worldwide jazz evolution. He is the major instigator of the European jazz movement since 1958. On his own Birth Records label he has recorded more than 200 albums, most of them together with his Galaxie Dream Band. Jürgen Gleue was a founding member of the infamous neo-psychedelic band 39 Clocks, with whom he released four albums between 1981 and 1987. Under the moniker Phantom Payn, he later recorded another six albums of acid-driven psychedelia, and, together with Rüdiger Klose, he also played in the psychedelic rock band Exit Out. Klose also contributed to 39 Clocks, Phantom Payn, and avant-garde group Die Kastrierten Philosophen. First known as a founding member of Die Kastrierten Philosophen, Matthias Arfmann later became famous as the producer of German hip-hop/reggae star Jan Delay. And Thomas Keyserling, also a member of Hampel's Galaxie Dream Band, played with Agitation Free and was a guest musician on two legendary 1970 German krautrock albums: Tangerine Dream's Electronic Meditation and Amon Düül II's Yeti.
Boston, Massachusetts-based Matthew Azevedo is a world-class technician, and by day engineers architectural acoustic simulations, teaches students about musical acoustics at Berklee College of Music, and occasionally finds time to master the odd record. It's this rare set of skills that can be heard on Aokigahara, an album made up of two long slabs of low-frequency drone. Aokigahara's focus on bass isn't necessarily anything new -- it positions itself alongside tomes such as Earth's seismic Earth 2 (1993) and Sunn O)))'s soupy ØØ Void (2000) -- yet Azevedo manages to inject something very different into the mix. Unlike many contemporary drone records, the album is an acoustic recording made in a concert hall, something which adds a certain magic that's impossible to recreate using software trickery. Azevedo's use of the space is the record's power, and occasionally you find yourself focusing not on the booming sub-bass but the airy flutter around it, or the echoing distortion that rips through like thunder. This is not a record to listen to on laptop speakers or through your flimsy, white Apple headphones. To experience its literal punch to the gut you need to make sure you've got the right gear to hand -- a good subwoofer is highly recommended.
Des Jeunes Gens Mödernes: Post Punk, Cold Wave et Culture Növö en France, 1978-1983 Volume 2
The long-awaited follow-up to Des Jeunes Gens Mödernes (BORNBAD 012LP, 2008), with five killer previously unreleased tracks. Volume 2 continues to explore the vaults of French post-punk, electropop, and no wave. Between the late '70s and mid '80s, in the wake of punk wave and in parallel to other types of music like disco, funk, ska, and reggae, a prolific and chaotic music scene began to develop in France, combining the energy of rock and the nihilism of punk with electronic experimentation. The period was not, on the whole, one of optimism and joy, played out as it was against a background of economic crisis and the cold war. A whole section of France's youth found itself confronted by the contradictions of the times it was living in: young people were torn between the sensation of living on the edge of an abyss and hope for the dawning of a new world; they were deprived of tangible ideological landmarks but resistant to the post-hippy utopias of the previous generation. In search of an identity, they recognized themselves in the dark lyrics, the cold synthetic music, and the laid-back attitude of the new groups bursting up all over the country, as much in the provinces as in Paris. Des Jeunes Gens Mödernes (Modern Young Men) reactivates this French post-punk/novo diskö/new- and cold-wave scene, highlighting a cross-section of the specific creative diversity of this scene. The new wave drew upon artistic avant-garde movements from the past (Constructivism, Futurism, symbolism, Dadaism, socialist realism, and so on), as well as literature (Romanticism, science fiction, etc.), cinema (new wave, German expressionist cinema), and the latest technological advances (electronic, robotic, nuclear). Drawing on traditional culture as well as the underground subcultures to which various magazines and fanzines gave voice (American countercultures; endless references to William S. Burroughs, for example; pop art, etc.), the new wave embraced all areas of creativity together, and built bridges between the different artistic disciplines (music, visual art, design, literature, cinema...) to an extent never before seen. Digipak CD includes 32-page booklet. Includes tracks by ADN Ckrystall, X Ray Pop, Eli & Jacno, Les Fils De Joie, Les Stagiaires, Medikao, La Bande Au Col Roule, Radio Romance, A.R.T, KaS Product, Frantz Kultur & Les Krames, Meca Rythm, and Perspective Nevski.
"Townes van Zandt is the best songwriter in the whole world, and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that" --Steve Earle, 1995. Townes van Zandt was at the peak of his career in 1973. Fresh off releasing two of his finest albums a year earlier (High, Low and In Between and The Late, Great Townes Van Zandt), his celebrated appearances also grew in stature. Likewise, as a number of his other live performances demonstrate, the Whole Coffeehouse set features nothing but the man and his guitar, something that could stand at odds with a number of his cherished studio recordings. For a man whose own battles with the bottle were notorious (and made for an unpredictable on-stage career), his focus here is acute and laser-sharp, every syllable perfectly placed with each ephemeral note carefully conveying their purpose. This performance at the Whole Coffeehouse in 1973 is an essential addition to the late, great van Zandt discography. Whether singing a quiet, introspective country-folk song or a driving, hungry blues riff, van Zandt's lyrics and melodies were filled with the kind of haunting truth and succulent beauty that were instinctive. This was soul music; it came straight from his soul by way of a kind heart and an honest mind. Melancholic, reflective, and always pure and devout, his story is our story. This is the complete original FM broadcast of Townes van Zandt's landmark appearance at the Whole Coffeehouse in Minneapolis, Minnesota, in 1973. Digitally remastered sound; includes background liners and rare photos.
Five compositions by the Berlin-based electroacoustic/industrial collective Column One in stunning interpretations by zeitkratzer, recorded live at Berghain during MaerzMusik 2012. Since their inception in 1997, zeitkratzer have built a reputation for their unique approach, their outstanding and internationally acclaimed members, and their adventurous projects that include collaborations with noise musicians like Merzbow and Zbigniew Karkowski, rock 'n' roll experimentalists like Lou Reed and William Bennett (Whitehouse), electronic musicians like Carsten Nicolai and Terre Thaemlitz, reinterpretations of Schönberg and Bach, as well as performances of music by composers such as Helmut Lachenmann, James Tenney, and Karlheinz Stockhausen. Column One and zeitkratzer first worked together in the late '90s at Podewil, which was at that time the most influential and vanguard location in Berlin. For these compositions, presented here for the first time, Column One's mastermind Robert Schalinski developed five scores for acoustic instruments based on electroacoustic sound files. These scores were transcribed by Reinhold Friedl and the zeitkratzer musicians, refining and working them out together, using the complexity and sensuality of their amplified instrumental sound that matches perfectly the "industrial musique concrète" of the Berlin-based artist collective (which Rashad Becker joined in 2013) who cite Dada and the Surrealists as important influences. Pressed on 180-gram vinyl; presented in gatefold sleeve; includes download code. Limited to 300 copies.
This remarkable 1967 concert finds Miles Davis playing with his second quintet: Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Albert Stinson (bass), and Tony Williams (drums). Recorded for broadcast on KALX radio, it features the only live recording of "Dolores" by this group, and their last known recording of "Stella By Starlight." An incendiary document of a great artist at the peak of his powers, it's presented here with background notes and images. Digitally remastered.
"For the last seven years fans of Honey Owens' Valet have been patiently wondering if they would ever hear another record of her trademark ephemeral, fractured blues. Owens herself had been unsure she'd revive the Valet name after six busy years exploring psychedelic house music in the Miracles Club with her partner Rafael Fauria. But the arrival of Owens and Fauria's first child would soon inaugurate a time of change and reflection that would lead to the surprising arrival of Valet's third LP, Nature. Recorded at home over the course of a year, Nature evolved as a collaboration between Owens, Fauria, and drummer/bassist/keyboardist Mark Burden. The album finds the trio crafting enveloping layers of guitars, synthesizers, and reverb to create a shimmering, wide open sound. It's a restrained, direct style, but tying it all together is a lulling, dreamy melodic sense that is distinctively Valet. At the center stands Owens' ethereal voice, which has transitioned from evoking trippy fantasies to creating space for honest contemplation. Informed by Owens' early musical life in the 90s Bay Area underground music scene, Nature slyly synthesizes the DIY spirit of punk, the expansive guitar whorl of shoegaze, and the propulsive rhythmic drive of dub. For Valet, Nature's sound is a change in style, but not substance. From the haunted blues of 2006's Blood is Clean to the Fourth World free fusion of 2008's Naked Acid, Owens and company have always demonstrated a mastery of bringing together disparate musical genres into a unified musical whole."
Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985
2015 repress. 3xLP version. "Includes 60 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations), housed in a 'Tip-On' slip case with three 'Tip-On' jackets. Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic's most ambitious and historically significant project in the label's 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You'll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup'ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You'll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin 'Sipreano' Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it's bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded."
First reissue of Robbie Basho's The Falconer's Arm, Vol. 1, originally released by John Fahey's Takoma label in 1967. The Falconer's Arm pair of LPs (this record and the simultaneously reissued Vol. 2 (C 1018LP)) is widely considered Basho's best work; monumental pieces of folk guitar invention from the pioneer, fusing the drones of Indian raga with flamenco and traditional folk. Fully remastered with excellent sound. Limited edition pressing of 500 copies.
"Issued in 1975, this is the articulation of Zambia's Zamrock ethos. While other albums -- Rikki Ililonga's Zambia, WITCH's Lazy Bones!! -- are competitors, it's hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines, its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks -- hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, 'because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed.' Thus, their 'Kale,' a blues sung in Nyanja, that traced the continent's arc from slavery to Zambia's independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala, and bandleader/lead guitarist Isaac Mpofu. Africa's vibe ranges from anxious ('Amanaz') to escapist ('Easy Street') to straight-up pissed-off. On the 'History of Man,' his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There's a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu's more restrained 'Khala My Friend,' which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there's the clear Velvet Underground-influence on the nostalgic 'Sunday Morning,' which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release -- and the underground funk of 'Making the Scene.' The album also tackles traditional Zambian music and early-'60s rock -- punctuated, of course, by Kanyepa's wah-wah and Mpofu's fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. 'Green Apple' is a civil song, featuring Kanyepa's sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu's and Kanyepa's lead and rhythm guitars, to the vocal harmonies, to the rhythm section's sense of space and time, which allows Africa's funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We've presented them both here as they each have their appeal: it's up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue."
"Initially Alfonso Muskedunder was just the nickname for my newborn son Alf, but the character soon started leading its own life. Interpreted for this single by a bunch of good people, such as Deetron (jazzy-ish housey-ish), Bullion (main vocal funky Latin house mix... or not. It's vocal though), Mungolian Jetset (acid mambo deep in the forest, quattro formaggio pizza style), and the mysterious Tangoterje (dub mambo especial)." Vinyl artwork by Bendik Kaltenborn and Espen Friberg; mastered and cut by Matt Colton at Alchemy Mastering.
2015 repress. "One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York's Elgin Cinema. After six months of sold-out midnight screenings at the Elgin, it was Lennon's manager, Allen Klein (ABKCO's founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, 'another kind of music -- something that wasn't entertainment, something that wasn't a show, something that went to the soul, something profound,' for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver -- the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, 'Trance Mutation,' give way to an almost jaunty percussion-and-plucked-strings melody, 'Pissed and Passed Out.' On the next track, 'Violence of the Lambs,' a single flute is slowly joined by a set of mournful strings while, onscreen, Gestapo-like soldiers in gas masks parade with bloody lamb carcasses on sticks. 'Drink It,' an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief's ill-considered decision to guzzle tequila (or sleeping potion). Then there is 'Christs 4 Sale,' a blaring orchestral riff that sounds like it was ripped from a 1950's swords-and-sandals epic. The next track, 'Cast Out and Pissed,' begins with a beelike buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. 'Eye of the Beholder' which follows, changes moods entirely once again -- a string section swells with overwrought romanticism. (Onscreen, a group of young prostitutes prays in a church. One of them later walks arm and arm with a chimpanzee.) And then there is 'Communion,' a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. (As 'Communion' plays, the Thief is not driving through Los Angeles at night but eating the face off a statue of Christ.) This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain's first 24 minutes. Still ahead lie the hard rock of 'Psychedelic Weapons,' the pomp and circumstance of the waltz 'Miniature Plastic Bomb Shop,' the gospel-inflected sax of 'Isla (The Sapphic Sleep),' and so on. Every one of the 24 tracks on the film's soundtrack presents another vertiginous twist in the philosophical and spiritual journey that is The Holy Mountain. Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents, for the first time ever on vinyl, the original soundtrack to Alejandro Jodorowsky's 1973 masterpiece The Holy Mountain. The double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece (with lacquer cutting on the LP by Carl Rowatti at Trutone Mastering), this long-awaited release of Alejandro Jodorowsky's The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience."
Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 3LP BOX
Some American Folk Songs Like They Used To LP
The Holy Mountain: Original Soundtrack 2LP
Never Satisfied - The Complete Works: 1968-1983 CD/BOOK
Des Jeunes Gens Mödernes: Post Punk, Cold Wave et Culture Növö en France, 1978-1983 Volume 2 CD
Des Jeunes Gens Mödernes: Post Punk, Cold Wave et Culture Növö en France, 1978-1983 Volume 2 LP
Voyage Direct: First Mission CD
Voyage Direct: First Mission Sampler 1 12"
Voyage Direct: First Mission Sampler 2 12"
Voyage Direct: First Mission Sampler 3 12"
WIZZZ! French Psychorama 1967-1970 Volume 3 LP
WIZZZ! French Psychedelic 1966-1969 Volume 1 CD
We Insist! Freedom Now Suite LP
What You Hear (Is What You Hear) 2LP
Wheeling West Virginia October 2 1976 CD
Songs from The Falling 10"
Alfonso Muskedunder Remixed 12"
Fourth World Music Vol. I: Possible Musics LP+CD
Tannhauser Acid Works III 12"
Escape to the Vibe EP 12"
Congolese Funk, Afrobeat and Psychedelic Rumba 1969-1978 2LP
Harmon Gymnasium, University of California, Berkeley CA, April 7th 1967 LP
Where We Come From EP 12"
The Chosen Themes - Program I LP
Shplittin' the Shtones 12"
Bringing It All Back EP 12"
On & On/This Place Was Meant for Me 7"
I Was Crossing a Bridge 2LP
Basement Dreams Are the Bedroom Cream CD
Basement Dreams Are the Bedroom Cream LP
Rise (P2 incl. Peaking Lights & Shigeto Rmxs) 12"
Rise (P1 incl. Psychemagik & Dreems Rmxs) 12"
It's Gonna Be Alright 12"
In the Beginning 1963-64 4CD
The East Village Other CD
The East Village Other LP
What You Hear (Is What You Hear) CD
Rückverzauberung 10/Nationalpark CD
Ananda Shankar and his Music CD
The Falconer's Arm, Vol. 1 LP
The Falconer's Arm, Vol. 2 LP
Whole Coffeehouse, Minneapolis MN 9 November 1973 CD
Le Monde Fabuleux Des Yamasuki CD
Mother Earth's Plantasia CD
Marzette Watts & Company CD
Witches, Spiders, Frogs & Holes: Demos & Recordings 2009-2014 CD
While the Recording Engineer Sleeps CD
Progressive Percussions CD