The Ecstasy of Gold: 31 Killer Bullets from the Spaghetti West Vol. 5
Vol. 5 in this essential and peerless series. Selected from one of the most complete Spaghetti Western audio archives, this series showcases the most inspired tracks in this legendary genre. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, Ecstasy of Gold is the definitive series for aficionados of Euro-Western films and the music that they created. Loud gunshots with reverb and echo appear with the first image of a lawless killer riding a horse... a punchy & trebly bass guitar seeps into your brain as he draws his pistol... a hair-raising scream, half-melodic, half-banshee, spews forth from the speakers as blood splatters yet again onto the desert floor. The audio soundtrack to the Italian version of the American West is flamboyant, brutal, intense, and unforgiving. Songs composed for the Italian Westerns of the 1960s and 1970s have become a genre all unto themselves. There were hundreds of European Westerns during this period and the majority of them were made by Italian directors and scored by Italian composers. Crying trumpets, exploding surf guitars, thundering drums, droning organs, dramatic vocal performances, and innovative special effects were woven into a wild and violent desert backdrop creating that undeniable Spaghetti Western sound heard on this record. The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns, and this compilation presents transcendent, brilliant, and challenging tracks from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Nico Fidenco, Piero Umiliani, and many others. 2LP gatefold in a limited edition pressing of 750 copies.
Tplay (Special Extended Edition)
Mark Fell and Mat Steel formed SND in Sheffield in 1998. Tplay was their first self-released EP, produced in a limited run and housed in a sleeve adorned with nothing but a stamped phone number on the back. SND's palette and minimalist aesthetic more or less fell in line with the emergent school of producers that would eventually find themselves as labelmates on the Mille Plateaux label and the monolithic Raster Noton (Ikeda, Pan Sonic, Alva Noto, Bretschneider) -- but as opposed to the intricacies and overly-academic strictures that would occupy so many of their contemporaries over the following decade, in hindsight it's easy to identify how SND uniquely managed to re-code the swing and shuffle of UK garage and two-step within a new minimalist paradigm. Although producers such as G-Man, Sterac, Jeff Mills and Robert Hood had been stripping bare techno templates since the early '90s, it wasn't until later in the decade that the dots were joined between movements in techno and experimental electronic music. This was mostly a serious and contemplative movement, typified by the fetishisation of abstract forms on the one hand, and rigid, teutonic movement on the other. But with the release of Tplay SND had created a sound that was unlike anything else made at the time. Although they were guided by minimalist principles, their productions were also driven by the momentum of a much more colorful type of urban music. Simply put -- there was no one else bridging gaps between the austere functions of European electronic music and London's emergent two-step sound. Truth is -- if you bought Ryoji Ikeda albums you were unlikely to have thought much of Artful Dodger -- and yet SND made music that drew influence and parallels from both. Listening over 15 years later, it's startling just how fresh and forward these productions sound, now bolstered by over 30 minutes of previously unheard recordings taken from the same sessions. At a time when some corners of club music are arguably more accepting of strange and challenging production styles than ever before, it's incredible just how unique and inimitable SND's sound still is, taking us full circle to current producers like Visionist, Mumdance and Rabit, who look to challenge dancefloor conventions by using the same principle of reduction and innovation without neglecting the dance. Fully remastered from DAT tapes by Rashad Becker at D&M.
New 2014 version, replaces the Get On Down label edition. "Within any musical style, there are a few select works that resonate so strongly with audiences that they come to define the genre itself, taking on a mythical quality that transforms the album into something greater than the sum of its individual parts. Meets Rockers Uptown, the 1976 collaboration between producer instrumentalist Augustos Pablo and visionary dub engineer Osbourne 'King Tubby' Ruddock, is one of those historic releases. This package contains the full length album spread across three pieces of colored vinyl, housed in a full color hinged box secured with a magnetic clasp."
Gatefold LP version. Pressed on 180 gram vinyl; includes mp3 download. Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as "Siriá"; a cross-pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernized version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer. Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil's oldest bands, founded in 1874. At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician. To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band Jazz Orquestra os Azes do Ritmo with the goal of reinventing Siriá and modernizing Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, merengue from the Dominican Republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion -- as we are witnessing on this record -- had explosive effects. After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela," included on this record, became instant hits. A year later, "Mingau de Açai," one of Cupijo's most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó. Analog Africa is ferociously proud and honored to have the chance to present these carefully-selected tracks from Mestre Cupijó's six studio albums, and hope that his music captivates you with the magic and bewilderment that it has them. Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó... Segura!
Gatefold double LP version with mp3 download. Will to Be Well is the new studio album by Dalhous, their second for Blackest Ever Black. This double LP reflects writer-producer Marc Dall's continued interest in the life and arcana of R.D. Laing, but also alludes to more universal and enduring mysteries: the relationships between body and mind, illness and wellness, the physical and the metaphysical. The 15 tracks assembled here also showcase the maturation of a uniquely gifted and expressive composer: Dall's stirring, efflorescent melodies and stately harmonic architectures, with their grievously honed simplicity, are a delight: lucid, lyrical, immediate. For all the modernity of Dalhous' approach, the album recalls a bygone era in synthesized and sample-based music, a time when its practitioners were not just set-designers but storytellers, too. Will to Be Well arrives just one year on from the Edinburgh-based project's tenebrous debut, An Ambassador for Laing (BLACKEST 003CD/LP), which was released to widespread acclaim in Spring 2013: The Wire praised "a frequently beautiful music, whose often calm surface belies the powerful currents moving beneath it," while FACT called the LP a "wonderfully compelling head-scratcher... opaque, elusive ... and fascinating." Nonetheless, a notable shift in tone has occurred in the 14 months that have elapsed. If Ambassador was a tussle between darkness and light that ended in stalemate, with Will to Be Well it seems the light might just be winning. Pieces like "Transference" and "Her Mind Was a Blank" project a rapturous psychedelic intensity; "To Be Universal You Must Be Specific" and "Entertain the Idea" adopt the serene ambient register of recent Dalhous EP Visibility Is a Trap; while "Sensitised to This Area" goes about its business with an almost Balearic swagger. But light, too, can be oppressive: the sun that gives life can also burn, and bleach, and blind. And even amid the endorphin rush of the album's most ebullient passages, there is the sense of a greater melancholy, an intractable doubt, lurking beneath the surface. Dalhous' music is suitably paradoxical, managing to sound at once futuristic and folkloric, both technologically advanced and avowedly pastoral. The elegiac repetitions of "A Communion With These People" and the pagan drones of "Lovers of the Highlands" speak of Dall and his studio partner Alex Ander's deep connection to the rugged contours of their native Scottish landscape, while on "Four Daughters by Four Women" and "Thoughts Out of Season" convulsive post-rave rhythms are employed to evoke ancient natural cycles. Though Will to Be Well is a less obviously eerie album than its predecessor, Dalhous' nose for the uncanny remains. A defining album from a major young artist.
LP version. 180 gram vinyl pressing. Bureau B presents Flieg Vogel fliege by Hans-Joachim Roedelius, released by Sky Records in 1982. Flieg Vogel fliege (trans. "Fly Bird Fly") is the fifth installment of the "Selfportrait" series, with musical sketches and ideas recorded by Roedelius between the years of 1973 and 1979 on a Revox tape machine in his living room. In contrast to the previous self-portraits, which he left untouched, Roedelius revised these recordings and embellished them with further tracks. "Measured against its predecessors, however, the audio quality is notably superior on this edition. Roedelius clearly improved the sound of the old tapes in the process of compiling the pieces at the Erpel Studio in Vienna, also taking the opportunity to add a few tracks. Strictly speaking, these relatively complex multi-track recordings can no longer be bracketed together with the fleeting sketches as heard on the earlier albums. Now and again, they bear a resemblance to the character of the Cluster LP Sowiesoso. Having arrived in Austria following a protracted lean period, Roedelius finally had the chance to work in a studio which was not only well-equipped, but was also run by a kindred spirit sound engineer. The favorable working conditions, a myriad of new impressions and, by no means least, his personal happiness, saw Roedelius and his music flourish. This is discernable on Flieg Vogel fliege, even if only some of the music was created in his new adopted home. If complete insouciance, the acceptance of little musical mistakes and inaccuracies were symptomatic of the earlier self-portraits, then a mild formal rigor runs through this volume. Not that Roedelius allows this to hinder him in any way. The joy of playing and talent for improvisation celebrate a cheerful resurrection once again. His spontaneity and exuberance, the ability to express thoughts and feelings through music, none of this was lost. This confirms Flieg Vogel fliege as an authentic and undisguised Roedelius portrait. With a little patina, perhaps. But music by the same man today reveals exactly the same individual, perhaps a little wiser, and of course, some years older. And there you have it: Roedelius is and shall remain the merry fool from the jardin au fou." --Asmus Tietchens
LP version. Pressed on 180 gram vinyl. Includes a CD copy of the album. "Many brightly shining planets orbit the twin central star of Cluster (Hans-Joachim Roedelius and Dieter Moebius). To be clear: as soloists Roedelius and Moebius have long since worked with all kinds of musicians whose congenial contributions add even more color to the polychromatic Cluster world. Yet no matter how distinctly their guests' creativity is expressed, Cluster's character is consistently audible. Snowghost Pieces very much fits the pattern: Tim Story, a distinguished electronic musician who had previous experience of working with Roedelius (the Lunz project, for example) and Jon Leidecker (Negativland, People Like Us), one of America's leading sonic pioneers using his Wobbly pseudonym, recorded an album of extraordinary complexity together with Moebius. All 11 pieces on the CD are rooted in hypnotic rhythm but are swept along in a bonanza of bizarre sound and noise which almost overwhelms the listener with information overload. Snowghost Pieces is no place for minimalism. On the contrary, new musical surprises come thick and fast, a blur of electronic and acoustic sounds. Moebius, Story, and Leidecker always keep harmony within their grasp, sometimes even dropping in little melodies; there is a deeply humane quality to their improvised interaction, never descending into noisy abstraction. The three musicians ensconced themselves in Brett Allen's exceptionally professional studio, high in the outlandish mountains of the state of Montana. The intimate studio atmosphere and surreal surroundings undoubtedly played their part in the creation of this fantastical music, the players availing themselves of abundant technical possibilities in the most brilliant and empathetic fashion. Snowghost Pieces is by no means a Cluster album, but to revisit the image at the top of the page, the distant reflection of the central star shone over the album recording sessions, radiating warmth for a whole week. The planets continue to circle in space." --Asmus Tietchens
2014 repress; LP version. Originally released in 2005. "In the '90s, with projects and labels such as Basic Channel, Maurizio or Main Street Records, the Berlin- based producer team Mark Ernestus and Moritz von Oswald have decisively influenced the development of techno-house and electronic music worldwide. Furthermore Ernestus and von Oswald have released pioneering hybrids of reggae, dub and electronica under the name Rhythm & Sound since 1996. In the last few years an utterly original and independent definition of reggae music -- stripped down, rootsy, hi-tech -- has emerged from their activities. For their latest Rhythm & Sound album Ernestus and von Oswald collaborated with legendary reggae vocalists, like Cornel Campbell, Jennifer Lara, Love Joy or The Chosen Brothers (aka Lloyd 'Bullwackie' Barnes). See Mi Yah is a classic one rhythm album, typical format and production approach reggae, featuring ten vocal versions and one instrumental of the See Mi Yah rhythm."
Triple LP version. Icelandic producer Yagya releases his fifth album, Sleepygirls. It's a deep, spacious and dubbed-out affair that stays locked at a pleasingly sedentary tempo throughout. Since 2002, the definitive member of the Thule Musik collective has been crafting lush electronic albums under his Yagya alias and always manages to find pure bliss and beauty and his simple, nature-inspired soundscapes. He deals exclusively in full-lengths and to date they have come on labels like Sending Orbs, Force Inc. and Subwax Bcn. "I wanted to create an album that's atmospheric, repetitive, and easy to listen to over and over again," says the man himself. "Something that works well in the background (e.g. when concentrating on work), as well as up close in a big sound system. I also wanted to learn how to make my music sound better than before, since I'm a huge sound-nerd, so that was a part of the goal for me personally." The album is a fine fusion of tropes from Yagya's earlier albums, features jazz instrumentalists that improvise beautiful melodies over monotonic, almost drone-like, techno beats, and also uses live recordings of Japanese vocals, saxophone and guitar to counter the repetitiveness of the rhythms. Right from the rolling bliss of the opener, you're suspended in a womb-like pillow of sound that is soft, warm and serenely beautiful. As tracks roll on, the pace stays the same but themes vary from upright and summery to more elongated and insular. This is natural, organic dub that is a delight and a pleasure to listen to. The vinyl versions of each track have been specially mixed with random LFOs, sonic quirks and unique fingerprints, making them subtly different to the CD version, but overall, this is a brain-soothing and mind-melting album that can soundtrack lazy days, long summer afternoons and warm winter evenings in equal style.
Following the prog rock Holy Grail of Klockwerk Orange's Abrakadabra and the buried treasure of Austrian early rock & roll with Schnitzelbeat Vol. 1: I Love You Baby!, Digatone has unearthed a cinematic pearl with the previously-unreleased soundtrack to a 1965 sexploitation crime movie. When you think of Austrian films the only ones that come to mind are The Sound of Music or The Third Man with Anton Karas' zither score as the only Austrian theme that received worldwide recognition. An almost completely unknown composer and producer is the Viennese Gerhard Heinz, even though his compositions can be found across a broad spectrum of productions from film, radio shows, commercials to theatrical productions. Heinz wrote the scores for 136 movies in his long career and while most were for softcore Bavarian porn, he also wrote for a number of crime and exploitation films including for Jess Franco. For The Fruit Is Ripe, he even received platinum status in Hong Kong. Gerhard Heinz was a stylistic chameleon writing songs from "easy cheesy sleazy" to beat, space-disco, African voodoo drums and oompa-oompa, or whatever was required to suit a particular film. The soundtrack to Geissel des Fleisches, filmed in 1965 under the direction of the Austrian cinema visionary Eddy Saller, was the first score that Gerhard Heinz recorded in his own studio in Vienna. Inspired by a real murder of a ballerina in the Vienna State Opera, Saller produced a sex and crime drama that was both radical and unique for the time. Recently, the court case from the actual crime that Saller used for the basis of his story had its 50th anniversary. The main actor Herbert Fux, that later made a career in exploitation movies, played a credible role as a crazy psychopath misogynist murderer that lurks around the dark underground bars of Vienna until he is trapped by a policewoman. The overall message the movie portrays is that the lowering standards and morality of society had driven such characters to commit these crimes. Until recently this film score has been widely ignored, but now it is acknowledged by critics to be a historic and valuable piece of work, although it is still widely unknown by a wider audience. The soundtrack to Geissel des Fleisches is previously-unreleased and is the first episode in a collaboration with the still healthy and active 87 year-old Gerhard Heinz. Digatone is a reissue label which specializes in discovering and putting out interesting and rare Austrian music. Access to the multitude of Heinz's treasures will bring about a series of exciting releases.
Philipp Quehenberger's music has existed as a consistent strain amongst the Austrian underground for the last 15 years. His output is a cracking combination of dancefloor zeal and deep disco disorientation. A perpetually rotating sphere which blends genres while bending the body and mind. Quehenberger's sweaty cerebrum is significantly showcased on his second full-length for Editions Mego. Content ventures deeper into Quehenberger's world of electro noir, ketamine cool and sordid soul. "Fucked" is a monumental drive through a gloriously queasy and sleazy terrain which leads into the rolling rhythms of the killer Uff Uff 12" (DEMEGO 020EP). Here, an oozing psychedelic tapestry folds amongst muffled voices, resulting in a striking, propulsive chant. "Startled" further charts the depths of dance and disorientation as striding rhythms coalesce amongst gloriously diminishing synths. "Extended" bounces around an ecstatic carnival atmosphere where an abject ringleader swerves amongst swirling organs and a thick organic beat. "Content" is brimming with hard, driving dance music -- a bass line degenerate hurtling out of the speakers as the ultimate mood enhancer. Equal parts quarantine and club, Content is one of Quehenberger's finest works to date. Mastered at Dubplates & Mastering. Cover drawing by Marta Mikulec.
LP version. All Under, the companion release to All Over compiles soundtracks to films, installations and a self-penned short story. This is familiar terrain for Edvard Graham Lewis, who, along with Bruce Gilbert, produced the early interactive audio-visual installation "MZUI" at London's Waterloo Gallery in 1981. Since this period, Lewis has been involved in countless soundtracks to all manner of cultural artefacts. The haunting score to Gunilla Leander's 2003 short film All Under was improvised in real time with a sampler and FX processing and recorded onto mini disc. The results are a viscous ambience of swirls, feedback and distortion. This material was then adapted for an immersive three-screen installation of the same visual material which features combinations of six nude bodies (four men, two women) fighting and wrestling, filmed underwater. The soundtrack here crawls further in the depths as electronic phrases swim amongst a foreboding ambience. Both of these works encapsulate the same disembodied effect of the visual material as hovering, uncanny sound worlds seep into the listener's subconscious. "The Eel Wheeled" features Lewis reading one of his own bizarre stories underscored with a suitably disorienting soundtrack sourced from sound effects of the Prime Sounds SFX Library. This version was remixed by Thomas Öberg (member of Bob Hund and 27#11). "No Show Godot" concludes the set. A soundtrack to a "sky movie" (road movies be warned) completed in 2013. Coming out of the initial sub-aquatic environments of the opening works, "No Show Godot" takes us on a spiraling high before folding into a gritty, godly industrial mantra which comes along as a perfect means of tying up these two concurrent releases as a symmetrical whole. Track #3 is a remixed version by Thomas Öberg. Track 4: Pauline Svanerö (vocals), P.T. Kirk (additional drones). Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates & Mastering in Berlin.
"VOA is the true next step for the collaboration of electronic music legend Markus Popp aka Oval with several wonderful singers/musicians from all over South America. VOA offers the previously unreleased 'A'-selection of recordings from those legendary Salvador da Bahia sessions plus brand new Oval material - adding up to an 18-track metamelomusical supermerger, chock full of genre-defying, mesmerizing songs and haunting, sensual melodies that does not cease to surprise. From the chilling vocals and multilayered guitar excursions of Agustin Albrieu to Aiace's sensual, radiant folklore style, from Hana Kobayashi's inventive pop sensibilities to Maite Gadea's earthy, soulful interpretations of two classics from the Oval guitar songbook of the future. Also, the pleasantly unpredictable avant-pop quirkyness of laptop songwriter Andres Gualdron. All this adds up to a pretty wild ride - and in a seemingly effortless, strangely organic way. And what Dandara does to these two songs can only be described as magical. They are also featured in an enchanting music video with breathtaking performances by actresses Ursula Doll and Daniela Lucato, directed by filmmaker/visual artist Darko Dragicevic (of Oval's 'Ah!' music video fame). This album is a true next-gen experience, a celebration of musicality evolved - it takes the hyperreal, hi-impact songwriting of the new Oval sound to a new level, resulting in a unique, intensely emotional style that none of both parties involved would have ever come up with on their own. VOA is like a sky with two suns, a musical asterisk that points straight into the unknown."
Country Funk Volume II 1967-1974
Gatefold double LP version. Housed in a deluxe Stoughton tip-on jacket. "In 2012, Country Funk 1969-1975 Volume I gathered together songs from a genre with no name. It's a genre created not from geography or shared ideology but a term applied retrospectively based solely on the feel of the songs: hip-swinging rhythms with bourbon on the breath. These were songs to make your cowboy boots itchy, written and performed by the likes of Bobbie Gentry, Johnny Jenkins and Link Wray. Songs that encompass the elation of gospel with the sexual thrust of the blues; country hoedown harmonies cut with inner city grit. Compiled from tracks dating from the late '60s to the mid '70s, Country Funk is the sound of country music blending with sounds and scenes from coast to coast, white America's heartland music blending with the melting pot as the nation assessed its identity in advance of its bicentennial year. The good news for the people who fell in love with the first volume of Country Funk is this: there's plenty more where that came from. Light in the Attic has followed up that first 16-track disc with a second volume, Country Funk Volume II 1967-1974, and a new set of loose-talking, lap steel-twanging tracks. In this volume you'll find household names like Willie Nelson, Townes Van Zandt, Kenny Rogers, Jackie DeShannon, JJ Cale, Bobby Darin, and Dolly Parton. You'll also find obscure artists like Bill Wilson, whose lost Ever Changing Minstrel album was produced by the feted Dylan producer Bob Johnston, and Thomas Jefferson Kaye, noted producer of Gene Clark's opus No Other. Gene Clark's here too, as half of Dillard & Clark, wringing raw emotion from The Beatles' 'Don't Let Me Down.' All of the individuals featured have a story to tell, whether it's that of the sidelined session musician, the fading star or the country upstart. There's Donnie Fritts ('Sumpin' Funky Goin' On'), whose roots stretch back to Muscle Shoals, Alabama, and who has played keyboard for Kris Kristofferson for decades. There's Canadian group Great Speckled Bird, who joined Janis Joplin and more on 1970's Festival Express tour. There's Hoyt Axton, who along with singing the harmonica-sucking ode to 'California Women,' also took a role in Gremlins. There's Jim Ford, who Sly Stone once described as 'the baddest white man on the planet.' And there's Billy Swan, who kicks proceedings off with a soul-stirring organ, a lazy kickdrum and his rockabilly vocals echoing like a croon into the Grand Canyon."
LP version. Includes download code. Shivers is the trio of Rutger Zuydervelt (Machinefabriek), Gareth Davis and Leo Fabriek, who join forces to conjure up a surreal album of parasitic intimacy and intensity. Though the three have played and recorded together in various combinations, this Miasmah release marks their first output as Shivers and manages to pull out quite a few surprises. Named after David Cronenberg's first film, Shivers the album readily adopts this concept of body horror, the fear of bodily transformation and infection -- a theory and technique that Cronenberg brilliantly captures with his first film and many thereafter. An aural invader immediately travels through your ears into your body, to infiltrate your soul with gory supernatural sci-fi. Crawling through the thick sludge of "Ash" and into the chaotic "Otomo," you're treated with what sounds like a beyond-the-grave collaboration of Albert Ayler with Alva Noto producing the soundtrack to Transformers. From entering "Rabid," a chorus of intense destructive voices leads you blindfolded to an abandoned spot amidst a buzz of florescent lights. Here you're abducted into a new life hundreds of years into the future, moving you through stumbling jazz, John Carpenter-styled themes, repeating organ-beats, and Moroccan doom. The psychological and physical combine to make Shivers a collective understanding of the grotesque, fascinating, and personal. You might not be the same.
Seven Skeletons Found in the Yard
"A great compilation of calypso classics from Trinidad recorded between 1928 and 1947 by well-known masters of the form such as the Growler, The Lion, Lord Executor, and Lionel Belasco, as well as by some lesser known but great artists. Heavy topical songs, minor chord meditations on death, beautiful instrumentals and more. Songs include 'When You Hear I Die,' 'In the Dew and the Rain,' 'Hojoe,' 'Jimby's Ingratitude,' 'Ba Boo La La' and much, much more. All true master pieces. Old school 'tip on' cover."
Archive Recordings Volume 1: Wastrels and Whippersnappers
The early, wild and experimental home recordings of Swell Maps, released on vinyl for the first time. "In the context of our hum-drum hometown, I think that it's safe to say that we were all oddballs, and we gravitated to each other because we got our kicks by making sounds. It was the only thing that seemed to help us to make sense of the world around us, and it was also bloody good fun! Nikki and Phones started to play together in 1972, and Epic soon joined in on percussion. I was a schoolmate with Nikki, and I was inspired by them to start making music as well. I managed to buy a second-hand guitar from a rich kid at school in 1973, and we would all play together in various combinations of two or three, according to who was around. Nikki was the only one of us into singing at this time, but he was encouraging me and the others to vocalize as well. John started to play with us in 1975, I think. He would invent some tunes with unusual riffs and time signatures. Richard joined our little scene later in 1976. It was unusual for any four of us to play together at the same time, but when we went to our first recording session in 1977, there were six of us in the studio, but only four playing instruments. Richard was driving us in his mother's car and he ended up singing on one of the songs, 'Ripped and Torn.' Phones did not want to play live on stage, so with Richard we made up the four-piece version of the band which became our regular line-up for gigs. In the studios, it was more flexible -- we were more of a co-operative, with all six members coming along with tunes and ideas, and even confidently improvising tracks on the spur-of-the-moment. Because we had no money for 'professional' equipment, we would play various guitars though small amplifiers and old radio sets, plus an old army surplus speaker cabinet that I had picked up. Epic saved up for a snare drum, then a hi-hat and later a bass drum to gradually add to the options we had for making sounds. I got hold of a ratty old bass guitar which I hacked up a bit in my dad's garage. I found a balalaika which made a dreadful din, and bought a brand-new zither from Woolworths, of all places! We also had some primitive electronic effects made by a friend, including a ring modulator, a tremolo and a terrific fuzz box. We made good use of found objects, household objects such as cushions, trays, kitchen utensils and a fire bellow. For one session we used some items I found in a toy shop which were made for the strange noises used in teddy bears. We also used radio sets to make random noise, and manipulated old records on turntables. Epic devised a way of manipulating an air lock in the household plumbing to make a bizarre, alarming random rhythm! Nikki set up our solitary microphone on a camera tripod. Phones devised a guitar which could fold in half; I still cannot work that out! He also discovered that headphones could be adapted to use as a microphone. We would often record on a variety of portable cassette machines in mono, but John had a fancy reel-to-reel machine that he'd bring along for special occasions. Most of our music was made in secret, like a fiendish experiment, and we never had a notion at the time of a career in music until we made the quantum leap of making a record, but that is another story."
La Ciudad Secreta: The Experimental Sounds of Barcelona 1971-1991
At the end of the 1960s, perhaps due to its proximity to Paris, Barcelona had become the forefront of the avant-garde and the entryway in Spain of new forms of cultural expression from Europe and the United States. Musically, that characteristic resulted in a middle-class underground that would play the part of a late local counterculture which gave birth to the so-called Barcelonés progressive rock of 1969-1973. It featured bands such as Máquina!, Om, Música Dispersa, and so on. Material from that period would take decades to be re-appreciated and get the same reissue treatment as Barcelona's jazz-rock scene, its continuation, and punk, its executioner, the latter two being particularly prolific genres in Barcelona in the late '70s and '80s. Concurrent with progressive rock, the trigger for another explosion of creativity -- still more prolific and experimental and, consequently, more obscure and marginal -- was developing in the underground of the city. This movement, breaking away from free jazz, branched out throughout two decades into electronic, punk, industrial, improvisation, noise music, art rock and even singer-songwriter music. It wasn't so much a scene, technically speaking, as it was an eclectic series of individuals and circumstances which Munster has the privilege of compiling here in the interest of recovering a lost legacy. It's a legacy that collectively we could and should value as something as stimulating and multi-faceted as that of Krautrock, the Canterbury scene or Rock In Opposition. That eclectic experimental eruption also encouraged the first known independent record labels in Spain and likewise served as a laboratory for new technologies, rethinking formats and declaring strategies. The artists of the experimental frontline collected here make up a dynamic melting pot that's still surprising in its color and its idiosyncrasies, in its innovative sounds and in its capacity for survival in a hostile environment. This movement also established valuable connections in France and England, taking part in a fruitful exchange with networks like mail art, the International Cassette Network and independent radio, in particular the local station Radio PICA, where many of the musicians in Barcelona had their own programs. Some of the keys to that ubiquity were self-management and self-released recordings, cooperativism and DIY ethics. This included the invention of a set of technologies that produced signal generators, oscillators, synthesizers and other homemade devices. Still, you would need an entire book -- there is one in fact, published only in Spanish -- to get the whole picture of this intrepid adventure. The 29 songs compiled here, all remastered, mostly unreleased and nearly impossible to find, give testimony of that adventure, about its existence and its timelessness. The 12-page booklet features extensive notes in English by journalist Jaime Gonzalo, plus numerous band photos and memorabilia.
On the mean streets of Chicago's infamous Southside, a music pioneer was born. DJ Slugo, born Thomas Kendricks, is most famous for his influential and fundamental position as the original King of Ghetto House. With 20+ years in the game, over 20 albums in his pocket and over 50 CDs on the street, he began a journey that led him to become one of the original creators of a style of music commonly known as "Ghetto House," more recently regarded as "Juke."
"After an impromptu heavy psych jam at SXSW left the crowd stunned and breathless, J Mascis and Earthless were asked to play the main stage of the Roadburn Festival in Holland. When Earthless guitarist Isaiah Mitchell had to back out at the last minute due to other commitments, Graham Clise from Heavy Blanket (who also plays with J in Witch) stepped in on second guitar. Backed by the best rhythm section out there - Mario Rubalcaba and Mike Eginton from Earthless - we are left with an incredible one-time happening, almost a full hour of some of the most mind bending heavy psych imaginable. With absolutely insane artwork from Tim Lehi, In a Dutch Haze comes as a lavish double LP with a gatefold sleeve, pressed on limited edition color vinyl."
Gatefold double LP version. It can't be easy gathering 28 of Northern Europe's finest jazz and improvising musicians in one place at the same time, which is why Sweden's Fire! Orchestra has been one of the continent's best-kept secrets so far. After playing rare shows a handful of times a year, this incredible mass ensemble is getting ready to unleash its full power with Enter, its first studio recording. This isn't jazz: this is Nordic dynamite. Fire! originated as the trio of Swedish improv masters Mats Gusfasson (sax), Johan Berthling (bass) and Andreas Werliin (drums). None of them are what you could call jazz purists; they all play in many different groups and contexts, including The Thing (Gustafsson), experimental folk-electronica outfit Tape (Berthling), and skewed pop unit Wildbirds And Peacedrums (Werliin). Around 2011, the idea sprang up to expand a massive orchestra around the core trio, featuring the cream of Scandinavian jazz, improvisation and avant-rock players and vocalists. Key contributions come from keyboardists Sten Sandell, trumpeter Goran Kajfes (Oddjob, Subtropic Arkestra, Nordic Music Prize winner 2012), drummers Raymond Strid (GUSH, Barry Guy, Martin Küchen Ensemble) and Johan Holmegard (Dungen, The Amazing), guitarist David Stackenäs, electronicist Joachim Nordwall (Skull Defekts, iDEAL Records) and Fender Rhodes player Martin Hederos (Soundtrack Of Our Lives), to name just a few. Adding a crucial, soulful presence are the three vocalists Mariam Wallentin (Wildbirds And Peacedrums), Ethiopian singer Sofie Jernberg and Simon Ohlsson (Silverbullit). But Fire! Orchestra is a collective effort, with Gustafsson directing a tight, disciplined ensemble that enjoys its moments let off the leash. Following 2013's live debut Exit! (RCD 2138CD/RLP 3159LP), Enter is Fire! Orchestra's first time in the studio, and might surprise you with its slow, treacle-y funk dynamics, running through a kaleidoscope of moods, rhythms, and textures. Muscular rock rhythms flesh out texts written by singer Mariam Wallentin, inspired by the legendary free jazz saxophonist Joe McPhee, and sung in soured blues moans by the Orchestra's three-headed vocal team. Recalling the righteous big-band jazz of the late '60s by figures such as Charlie Haden, Sun Ra, Mike Westbrook and Chris McGregor, there are also echoes of Matana Roberts' recent jazz tapestries and the steamy psych-funk of Brightblack Morning Light. "Part Two" opens on a groove ripped from The Beatles' psychedelic classic "Tomorrow Never Knows." Using collective riffing at its finest, this is an epic suite that undergoes constant scene-shifts between relentlessly building rhythms, rising in emotional intensity as the furnace is stoked. Enter is about following your instincts, having the courage to step forwards into the unknown when the door is open. Death might be an exit, but it's also an entrance -- to a new, unimaginable state of being. The music acts out this cyclical pattern of living and dying, entering and exiting, and the finale winds down to the same reflective, introspective keyboard motif as it started with.
LP version. The best improvisers are the ones that seem to invent and uninvent their instruments right in front of your eyes and ears. Swedish pianist Sten Sandell and Norwegian drummer Paal Nilssen-Love are two musical champions with a long experience of doing exactly that. Jacana, the latest in Rune Grammofon's occasional series of unusual duo combinations, features the pair's sparkly improvised set captured at the 2013 Kongsberg Jazz Festival in southern Norway. Sten and Paal have been working together since forming a trio with Swedish bassist Johan Berthling (Fire!, Tape, etc.) in 1999, but this duet marks the start of a new chapter in their relationship. Jacana's three tracks find the players flying close to the limits of their comfort zones, sometimes resembling the strange formality of Asian court music. It's savage and ritualistic, spiky yet flowing, arrhythmic but surging with understated pulses. Sandell breaks into vocal overtones on "Kauri" like some tranced-out Mongolian shaman. He pokes around in the guts of Nilssen-Love's rough surgical cuts and, at the start of the track "Jacana" itself, pulls out some ear-bogglingly rubbery notes from his piano's deep innards. At the end of "Curvature" they break off from their instruments and simply clap for a while. Two men getting down to the essentials of what humans can do with wood, strings and skin. Sten Sandell is one of Swedish jazz's most distinguished elder statesmen, having worked unrelentingly since the mid-'80s. As well as his own trio and numerous international collaborations, his keyboard skills have been heard in groups such as GUSH, Guschwachs, Sven-Åke Johanssen Quintet, Townhouse Orchestra, and most recently, Mats Gustafsson's Fire! Orchestra. He has also composed music and sound art for installations, intermedia works, radio plays, theater and film. Paal Nilssen-Love is one of the most intense drummers working on the planet right now. In theory, he's based in Oslo, but there's a huge global demand for his percussive threshing machine. He's often travelling on a relentless round of musical projects and festival appearances -- notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise-artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher, and others. This duo is planned as an ongoing project, and offers some of the most refreshingly challenging music coming out of Scandinavia today. Jacana is another fine mess they've gotten themselves into. Sten Sandell (piano, voice); Paal Nilssen-Love (drums, percussion).
Ypsilanti's whiz kid (or grown man, for that matter) Todd Osborn serves some beat tools of his own for Running Back's official unofficial bonus-beats sub-label. T-Rhythm Trax Volume 1 contains five of the finest DJ helpers you always dreamed to possess. From the frantic "Beat B" to the frenzy "Beatapella" and the uptempo "Beat A" or the house-inclined rest, the man also known as Osborne lightens the heavy load that comes with the monotony of everyday DJ life. Ain't no rocket science? Surely enough to take you and your audience over the moon. For DJ use only!
Double LP. Part one of a two-volume set. Artists: Josh Milan, Jon Easley, Jovonn, Norm Talley & Rick Wilhite, TJ Dumas, Sean Tate, K-Alexi Shelby. Rick Wilhite delivers this super-strong collection of songs and tracks from his favorite New York, Chicago and of course, Detroit producers. As a DJ and promoter Wilhite has been holding it down for over 20 years. His Vibes New & Rare Music record store was a main source in Detroit for soulful electronic music until its closure a few years back. The Vibes New & Rare Music compilation only features material that Rick Wilhite truly believes represents the artists. After releasing Volume 1 in 2010 (RH 111CD), Wilhite now delivers the sequel, featuring pioneers and new talents alike from New York, Chicago and Detroit.
Matthew Dear continues his resurgence as Audion in 2014 with Sky/Motormouth Remixes as he continues to build on 2013's Audion X, a compilation album looking back at a decade of Audion material. The latter featured two all-new Audion tracks, "Sky" and "Motormouth," featured here for the first time on vinyl accompanied by four hard-hitting remixes from Daniel Avery, Hotflush label-boss Paul Rose aka Scuba, and Spectral Sound newcomer Matrixxman. The pages will only continue to turn as a new Audion album is imminent along with a groundbreaking live audio-visual show, "Subverticul," touring worldwide throughout 2014.
Country Funk Volume II 1967-1974 2LP
What Are They Doing in Heaven Today? LP
King Tubbys Meets Rockers Uptown 3x10" BOX
I Don't Feel at Home in this World Anymore 1927-1948 LP
Seven Skeletons Found in the Yard LP
Last Kind Words (1926-1953) LP
A Matter of Time Remixes 12"
I'm Gonna Destroy That Boy/Watch Out 7"
Goodnight Civilization 12"
There Is Calm to Be Done LP
Shout Out to All the Weirdos in Rathmines 12"
The Virgin Years 6LP+5CD BOX
Admiral Byrd/Admiral Dub 12"
Interplanetary Phenomenon Unit 12"
Geissel des Fleisches (Torment of Flesh) LP
Il n'ya pas de crocodiles a Cocody EP 12"
T-Rhythm Trax Volume 1 12"
King of Ghetto House EP 12"
Sky/Motormouth Remixes 12"
Tplay (Special Extended Edition) 2LP
Archive Recordings Volume 1: Wastrels and Whippersnappers LP
La Ciudad Secreta: The Experimental Sounds of Barcelona 1971-1991 3LP