Revolver is one the finest Ennio Morricone thriller scores, composed in 1973 for Sergio Sollima's great 1973 giallo film. No sweeping themes, no quirky effects, no dissonant sounds -- just simple ideas, executed to perfection. Contains "Un Amico," the beautiful theme heard in Quentin Tarantino's Inglourious Basterds (2009); and the masterpiece "Revolver," a 13-minute action piece that dazzles with its brilliance. Incredibly tense dramatic action music of the highest caliber. Includes a performance by Daniel Beretta; conducted by Bruno Nicolai. This reissue is pressed on white-and-red splatter vinyl, includes extra tracks, and is limited to 500 copies.
"Back in '94 there was little sense that a new scene was on the horizon, but there was. Indeed, things were beginning to break out all over. All they needed was a little push. In Quest of Tense was released on CD in '94 (FE 038) and was just what a lot of people needed, even if they didn't know it yet, or didn't quite realize what it was when they heard it. Dredd Foole (aka Dan Ireton) had been roving through the Boston music underground since the early '80s, with a series of bands using the name The Din, and then on his own. Bored, stoned, and listening to naught but free jazz and folk, Dredd went into his room with a four-track, a reverb, some guitars, and little else, emerging after a week with this masterpiece. The music takes a weird, improvisation-based electric folk form, something only previously mastered by Tim Buckley on Lorca and Blue Afternoon, and drives it straight into the clouds. Echo-soaked, massively-skronked, glossalalic to the point of no return, In Quest of Tense lit brain-fires from the Lower East Side to Austin. And it may have taken a while for their collective smoldering to erupt into a fire storm, but it did. And here's where it starts. An amazing album, today and always. Finally on vinyl." --Byron Coley, 2015. Limited edition of 400.
Recondite's debut album On Acid was originally released on Absurd's Acid Test imprint in 2012 to wide acclaim. Acid Test now presents a 2015 reissue of the melancholic acid album, released in advance of Recondite's Limber/Undulate - Lawrence Mixes 12" (ASD 025EP) and his full-length album Placid. On Acid includes remixes by Tin Man and Scuba.
On his sixth album, Palace Savant, Brooklyn producer Jonas Reinhardt (aka Jesse Reiner) undergoes a profound solo odyssey. The record may be the most spectacular realization of Jonas Reinhardt's outward-bound sonic aspirations. These eight tracks draw on 14th-century architect Peter Parler's breathtaking St. Vitus Cathedral in Prague. "St. Vitus is a statement to the future by the rulers at the time," Reiner says. "It's surreal, grandiose, psychedelic -- and the sheer scale of human ambition involved is almost beyond comprehension." Parler reportedly deviated from the cathedral's initial blueprint and elevated the Gothic style to heretofore-unimagined, bizarre levels. With Palace Savant, Reiner projected Parler's handiwork into Thomas Edison's era of electricity. "I envisioned [Parler] retrofitting his cathedral with excesses of incandescent light, preparing for a coming age of electronics. Palace Savant is what a contemporary electronic performance in that space might sound like." Recorded on tour and in New York over the course of a year and mixed at Transmitter Park Studio in Greenpoint, Palace Savant begins with the instant attention-grabber/pulse-accelerator "Old Kaizen." At once claustrophobic and spacious, it possesses an urgent, chase-scene synth throb that would make John Carpenter or Bernard Fevre jealous. The turbulent "Shattered Remains of Orr" sounds like Edgar Froese's kosmische-ambient masterpiece Aqua (1974) tossed into shark-infested waters. On "Androma," Reiner's expertly-modulated arpeggios contrast low and high frequencies, revealing his ability to create suspense with a chiaroscuro of whirs and pulsations. Palace Savant achieves two towering peaks. The first is "Go Sceptre Go," a swiftly-moving, heavenly droner that veers off on a tangent into a much darker, more chaotic direction. The second is "Noctornum," a burbling and soaring piece that's at once aquatic and astral, before an emphatic rhythm forms, pushing things into menacing Szajner-esque territory. The album closes with the mid-tempo arpeggios and muted, wailing siren-tones of "Omat Principle Decay," a moving finale to a record that's taken you so far and tingled your senses so intensely. A high point in Jonas Reinhardt's large canon, the dramatic and majestic Palace Savant does exquisite justice to St. Vitus Cathedral's grandeur. Album artwork by Andy Gilmore. Mastered by Rashad Becker at Dubplates & Mastering.
Paul Metzger's choices of instruments involve strings and necks, but he is not content to leave them in their original state. On 1300, his ninth solo album and third for Nero's Neptune, Metzger performs on modified guitar and 23-string banjo. The first of the album's two side-long improvisations, "Meend for Shaista," displays the earliest of Metzger's experiments in modification, a revamped Yamaha guitar first displayed on his 2005 debut. The instrument has evolved considerably since then. The neck is now covered in fretless steel, many sympathetic strings have appeared, and a ride cymbal has been attached to the bottom. Metzger applies a percussive string technique and an unorthodox flamenco approach with his right hand, while his gliding left reveals the hidden beauty between the notes. As the piece unfolds, Metzger accompanies himself on tabla while simultaneously playing the guitar; it is at times hard to believe the recording is a one-pass live improvisation made by a single player. On the second side, "Death's Other Kingdom," Metzger breaks out his 23-string banjo. The banjo has extra strings added (including a zither-like spray of 13 fanning out over the drum head), with the skin and sides of the banjo utilized for percussive effect. The piece begins with a slow-burning bowed section. Metzger's bowing has evolved from single-note glissandos into a full-neck chordal style, showing impressive strides in development and refinement. Echoes of North Indian classical music, 12-tone music, and Asian musical forms inform his work. Once the bow is set aside, Metzger's dexterous finger-work and flat picking bring forth a thematic arc, building to blinding velocity as the piece comes to a climax. The cover of the album features the artwork of Metzger's paternal great-grandfather Max Kleiter, whose drawings appear in early issues of the German art nouveau publication Der Jungend. The piece dates from 1901, but is as timeless and singular in style as the music contained within.
This double LP documents Stephen O'Malley's Eternelle Idole, his score for Paris-based choreographer Gisèle Vienne's artistic ice-skating piece of the same name. Comprising 47 minutes of music spread over three sides and enhanced by an elegant and chilling photoset by Estelle Hanania, the album features familiar O'Malley collaborators Steve Moore, Daniel O'Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog, and Randall Dunn. Recorded between Brest, France; Seattle; and Rotterdam, the Netherlands, the score sees O'Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. Eerie keyboard- and piano-phrases draw a white, monochrome stage for a young girl's stark and emotive elegy. Clavichord and guitars weave through the darkness, supported by Sykes's prophetic voice. Mirroring the score, Hanania's 16 photographs of the choreographic piece display the grace, sustain, geometry, telemetry, distance, and perfection of ice-skating, as well as possible falls and gloomy shadows. Metal against ice; tights and knots; spirals and scratches; shouts and winds -- field recordings mold a crispy atmosphere while instruments draw lakes, ice skating rings, cosmic belts, and a terrestrial cloud passage and eventual landing platform for a flying saucer. 180-gram white double LP with 16-page, 30 x 30-cm, saddle-stitched, full-color booklet in 350-gram sleeve with gloss varnish. Edition of 500.
"I'm always looking for ways to escape that 'block-y,' downbeat-centric feeling," says Clay Wilson. "For me, it's the drone -- what's going on in the background -- that serves to hold my interest." Behind the tightly-wound techno core of "Cataleptic," the sound of a babbling brook and a plaintive, meandering bird call gently give way to the tintinnabulation of a distant bell. But make no mistake -- Wilson's productions are designed for the dancefloor through and through. The static kick-hat pattern of "Feres" contrasts with chunky, stepped percussion, before the ghostly vocal sample (or merely something approaching it) of "Pict" repeats underneath it all.
Bali 1928, Vol. III: Lotring and the Sources of Gamelan Tradition
Vol. III of World Arbiter's complete 1928 Balinese recordings, the first republication since 1928 of lost shellac recordings, opens with the only known recordings of a lost gamelan. Heard in three tracks, Gamelan Semar Pagulingan, an ensemble known as "Love in the Bedroom Chamber," played instruments that no longer exist, and performed whenever requested by a Rajah who relaxed nearby with his wife. The major artist in this CD is I Wayan Lotring, a composer who was tormented at night by sounds that emerged into fully structured compositions that he taught orally to musicians in his gamelan, and shadow puppet ensembles. An extensive text by Edward Herbst is included as a PDF on the CD (accessible by computer) and hosted online by World Arbiter. Some of these recordings come from discs that existed in only one known copy, and now their erotic, subtle, incendiary styles are available for everyone to experience. Also includes performances by Gamelan Palégongan of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Kaliungu; Gamelan Palégongan of Kelandis; Gamelan Gambang; Gamelan Gambang of Pura Kawitan Kelaci, Banjar Sebudi; and Gamelan Pajogédan (Gandrung) of Pagan.
Magic Castles are a five-piece band from Minneapolis, MN. Their sound has been described as droney psychedelic pop, combining the organ-drenched hazy atmospherics of the mid-/late-'60s with sun-drenched West Coast folk-rock. Magic Castles toured with The Brian Jonestown Massacre in 2012 and released a beautiful 12" split single with The BJM on Record Store Day 2014. Their 2014 sophomore album, Sky Sounds (AUK 114CD/LP), and successful West Coast tours see the band reaching new heights. At the time of this release of their third album, they are undertaking their first European tour, concluding with an appearance at the Liverpool International Festival of Psychedelia.
Limber/Undulate - Lawrence Mixes
Limber/Undulate - Lawrence Mixes is released in advance of Recondite's 2015 album Placid, and coincides with Acid Test's 2015 reissue of Recondite's 2012 debut album On Acid (AT 001LP). The CD version of Placid, forthcoming at the time of this release, also includes the first CD edition of On Acid.
Berlin-based Italian/Belgian duo Lumisokea present Mnemosyne, shedding the bass-heavy rollers found on 2014's Apophenia (OPAL 032LP), and welcoming space and tension into the fold. Most of the groundwork for the record was made during a week-long residency at the WORM studio in Rotterdam, which saw the duo make full use of the studio's collection of synthesizers from the '60s and '70s. The improvisations with these peculiar machines were subsequently edited and combined with heavily-processed recordings of gamelan bells, prepared piano, cello, and acoustic drums. A meticulous two-year period of reworking and reflection followed before Lumisokea finally arrived at Mnemosyne. An exploration of the gray area of sounds that vacillate between electronic and acoustic; an effort to show their coalescence and kinship, like shadows of forgotten sonic ancestors. Shards of oblique melody merge with slow-burning rhythms; sudden changes of scenery melt into fog-drenched sonic artifacts. In Lumisokea's own words, "The whole process felt like cultivating a garden of the imagination which is in no rush to be opened to the visitors. With this full-length album we explore the more nocturne, narrative and twilight-like angle of Lumisokea. When listening back to it, we had strong images evoking times in an unidentified or unactualized past, like places and events that could have existed, but then didn't. Hence our reference to Mnemosyne, the ancient Greek goddess of Memory."
Previously unreleased guitar-and-synth musical jewel from Italy circa 1984, available on CD with one bonus track following a 2015 LP release (ATN 018LP). An until-now-unknown collaboration between a guitar maestro who composed contemporary dance scores and a gifted electronic music composer. Melodic complexity and rhythmic sonic beauty create a unique and timeless classic that has already achieved cult status among the few who have heard it. Obvious comparisons can be made between Imaginary Choreography and the softer ambient side of vintage German electronic music -- Göttsching, Schnitzler, Cluster, etc., but that would be too easy, as this recording stands alone with its uniquely Italian atmosphere of sophisticated and complex simplicity. This session was recorded by two Venetians: Paki Zennaro (then working with composer René Aubry for choreographer Carolyn Carlson) and Gianni Visnadi (an experimental composer), who met one evening over a glass of wine and decided to work together for the first time with the intention of recording contemporary music to be used by dance schools for study and exercise. The duo recorded on reel-to-reel tape using electronic equipment (Sequential Circuits Pro One and Prophet 5; Roland TR-808 and guitar synth) with an acoustic 12-string guitar. When finished and mixed, a few BASF LH extra cassette copies (maybe as few as six or eight) were sent out to a few friends with a homemade photocopy insert, complete with handwritten track names and production details. This now-famous BASF tape was found one lucky morning by Johanna Heather Anselmo (filmmaker, photographer, musician), while she was searching for musical surprises in a box of tapes that had probably been at that same flea market for 20 years or more. Anselmo is used to rummaging in boxes of dusty tapes, being the girlfriend of Antinote artist Iueke, who has the unusual habit of hiding tapes all over their flat. Iueke found contact information for Zennaro and Visnadi, who were happy to oblige with the release of this almost-forgotten 1984 session. Master tapes were sent to Paris for immediate transfer and mastering, while the Check Morris graphic design team worked with its usual class on adapting and reworking the cassette tape artwork.
Hide Before Dinner is an extraordinary LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel, and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics of the highest order; acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers... a relatable surburban gothic... grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbor's garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark. If you dream you die, you die. Cover art by dal Forno and Manek. Layout assistance by Oliver Smith. Cut by Noel Summerville and pressed at Optimal. Housed in full-color gloss sleeve with printed inner sleeve and download code.
Deadbeat presents the second vinyl-only release (following BLKRTZ 012EP) in advance of his 2015 album Walls and Dimensions, forthcoming at the time of this release. While the first installment featured a luscious extended ambient drone piece over two sides, this 12" features extended dubs of two of the album's dancefloor cuts, filled to the brim with the space-age dub effects, mournful melodies, and rumbling basslines Deadbeat fans have come to expect.
Two MPC 2000 works from 20 semi-opaque purple floppy disks. Brunette Editions is a publishing outlet created by John Roberts as an abstract platform for audio recordings, printed matter, and ephemera. The label showcases interdisciplinary work unbound by genre and medium created under the direct or indirect influence of music.
Thighpaulsandra presents his seventh full-length album and his first since 2006's The Lepore Extrusion. Well over a decade in the making, The Golden Communion is his debut for Editions Mego. It comprises ten songs and runs well over two hours, with individual pieces clocking in between four and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Siôn Orgon, plus the odd guest/ghost from bands with which Thighpaulsandra has worked in the past. Listeners who have heard any of Thighpaulsandra's previous albums will know that it's best to approach this work with no fixed set of expectations; once again, Thighpaulsandra changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized, and Julian Cope's band (in each case arguably at the height of the group's creative prowess) and his work as producer and sound engineer for an even larger variety of customers, he offers classical passages next to hard rock riffing; krauty experimental work-outs turning into super-catchy, almost radio-friendly songs; and more. Many adjectives have been used to describe Thighpaulsandra's work -- "epic," "challenging," "timeless," "idiosyncratic" -- but certainly never "predictable" or "boring." Possibly his most rewarding album yet and a welcome and unusual entry in the Mego catalog, The Golden Communion will entertain and astonish listeners who are fond of having their minds severely altered by sound.
LP version. There's something brewing in Southern California -- besides the world's finest pale ale and crystal-clear surf rolling up the shore along Interstate 5. There's been an outpouring of mind-blowing prog-, psych- and free-rock in impeccable form from San Diego County, seamlessly merging jazz tendencies and extraordinary jam-abilities with crushing heaviness, electronics, and a general out-there-ness. Bands such as Psicomagia, Earthless, and Joy have earned SoCal its own unique spot on the worldwide map of psychedelia. At the heart of all this is one young Escondido native, Brian Ellis. A guitar virtuoso in Astra, saxophonist in Psicomagia, and keys- and synth-wiz as well, he's long been cutting his teeth as a grade-A session player in such heavyweight funk outfits as Egyptian Lover, in addition to working as a studio owner and an esteemed recording engineer. It was only a matter of time before Ellis got his own group of local offbeat heroes in the same room to crank out a spectacular piece of prismatic, electric free-form jazz. And here it is. Along with members from Radio Moscow, Corima, and Psicomagia, Ellis has cooked up two vinyl sides of seriously vital jazz-rock, taking up where Miles Davis, Tony Williams, and Donald Byrd left off in the '70s. This music is a far cry from the self-absorbed European free jazz or academic noodling one is likely to meet at any given jazz festival; this music is earthy, like, say, Hendrix at Woodstock, or Davis's Live-Evil (1971) -- a pinnacle challenge of the past that has never met any really satisfying response from contemporary music. There's that unique sense of percussive drift that characterized Can's records in the first half of the '70s -- somehow extravagant, yet also subtle at the same time. The warmth of Ellis's sun-dried Rhodes and cosmic Moog-lines intertwine with Patrick Shiroishi's Coltrane-inspired soprano arabesques. Trevor Mast's thick basslines and a multitude of tribalistic percussion keep it together along with a naturalistic, crisp-sounding recording. It all adds up to a soulful tour de force of everything that's great about the San Diego scene. To be played loudly. File next to: Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, Donald Byrd. Brian Ellis: Fender Rhodes piano, Hammond L-122 organ, Wurlitzer electric Piano, Minimoog, Moog Subphatty; David Hurley: congas and percussion; Michael Hams: drums and percussion; Patrick Shiroishi: alto and soprano saxophones; Paul Marrone: drums, percussion, guitar; Trevor Mast: bass.
Light Wave: Today & Tomorrow
This compilation is a sweet snapshot of a sophisticated sector of young Japanese pop music circa 2014. Originally released as a series of web-only EPs on Dai Ogasawara's Ano(t)raks label, Light Wave features artists born in the 1990s who have been strongly influenced by the melodic, sophisticated Japanese "city pop" music of the '70s and '80s, as exemplified by such revered names as Tatsuro Yamashita, Yumi Arai, and Tin Pan Alley. These musicians also draw inspiration from the "shibuya style" pop of the '90s, including artists like Pizzicato Five and Cornelius. But whereas these earlier artists were living in boom times and recording in luxurious studios financed by major record companies, these young artists have been born into a glum economic era with a decimated recording industry. Nevertheless, through the magic of sheer willpower and surprisingly assured musical and self-production skills, they make joyous, lighthearted, and refreshingly refined pop music. With strong melodies and inspired arrangements, this fresh new wave of city pop is perfect summer music, all year round. Remastered to EM Records' exacting standards, this collection showcases a promising generation of pure pop music in Japan. Includes 20-page booklet with liner notes by Ryohei Matsunaga, lyrics, artist bios, and English translations. Includes tracks by Hesonosuke, Miho Tsujibayashi, Shin Rizumu featuring Sodapop, rizumu & ikkubaru, and Sodapop (including a track featuring Yuriko Ohno). CD also includes a track by Umanosora and an extra track by Hesonosuke. LP (EM 1137LP) also includes a track by Like This Parade.
Official reissue of a scorching Caribbean disco lovers-rock version of the classic anthem by Change and Luther Vandross, originally released in 1980 on Black Jack. The great Dave Baker aka Dave Barker was a member of The Techniques and the duo Dave & Ansel Collins. This reissue of this very rare record is coordinated by French DJ and collector Waxist (aka Julien Minarro), following his 2015 reissue of Lamar Thomas's Feel So Good Inside (FVR 099EP). Includes the original 12" version, remastered from the master tape, as well as an exclusive extended dub version finely edited by Waxist. Essential!
Evaporate is the first issue from Rabit's highly promising Halcyon Veil label, and also the exceptional solo debut from 21 year old s.w. Londoner, Myth. Infectiously emotive and nimbly weightless, it rotates seven slick grime and 2-step instrumentals including the instantly recognisable version of his and Rabit's flip of Ciara's "Backseat Love," which is currently still under heavy rotation from Rinse FM. Its seven tracks were salvaged from a series of cheap, dying computers over the last two years and could be considered perfectly symptomatic of where grime is at right now - still succinctly FWD, but steeped in nostalgia for its formative era; which is perhaps understandable as he's been writing beats since he was 10-13 after hearing grime on mobile phones at school circa 2000's. It's all as sharp cut, raw and moody as anything from Zomby or Visionist, but with a unique, salty streak of emotion running thru its skeletal structures, at its most potent in the majestic "Lonely" or the iridescent 2-step twinkle of "Phoenix," whilst the tensile tendons of "Evaporate," or the Apple-style Funky drums of "Seven" grip the 'floor properly.
18+ return with their They Remixes EP, a collaboration with artists they respect and admire, with a purpose to reinvent their favorite tracks taken from their critically-acclaimed 2014 debut album Trust (HTH 026CD/LP). Featured artists include the distorted trap beat darling Suicideyear (producer for Yung Lean), experimental grime producer Mr. Mitch, and the cult Portuguese collective Tia Maria Produções. The final remix is by relatively-unknown Puerto Rican artist Audri Nix, whose unofficial remix of "Crow" first caught 18+'s attention for its similarities to their own aesthetic and magpie-like approach to art. It features Audri Nix's original lyrics sung entirely in Spanish.
Prefigured by the inclusion of a secret extra pocket in the original packaging of Far West (IMPREC 386CD/LP, 2013), this painstakingly crafted complimentary LP is intended for synced playback with that release. With two turntables or other playback devices, the listener can experience fully unique quad playback. Further West Quad Cult LP offers deeper journeys into the cave where the self dissolves. It also stands alone as an inverted Far West universe, and the listener is invited to enjoy it by itself as well. Liquid synth journeys into the void. All tracks dubbed and manipulated from Far West source material. All music by Master Musicians of Bukkake. Additional sound design and synths by Randall Dunn and Timm Mason. Produced, recorded, and mixed by Randall Dunn at Avast!, Seattle, WA. Includes fold-out poster by photographer Alison Scarpulla.
Mutei - Music for Davida Monk's Dream Pavilion
Since the mid-'90s, Seattle-based guitarist Bill Horist has been making music within and without convention in a wide variety of settings and genres and has worked with many notables in rock, experimental, and new music. He has played on dozens of records and has performed throughout North and Central America, Europe, and Japan, collaborating with numerous leading lights in a beguiling range of genres. He delivers an idiosyncratic and richly emotive take on the world's most ubiquitous instrument; perhaps best known for his prepared guitar treatments, his work is widely regarded alongside masters like Fred Frith and Keith Rowe. He has cultivated a unique voice in a number of styles in the realms of jazz, rock, folk, and experimental music. Horist is also becoming known as a masterful acoustic fingerstyle player in the tradition of Leo Kottke and John Fahey, additionally incorporating elements from Asia, India, the Middle East, and West Africa. Mutei presents music composed and improvised by Horist for Calgary, Alberta-based choreographer Davida Monk's 2013 major dance work, Dream Pavilion. This is the second major work that Horist and Monk have created since their initial production, Lyric, and the resulting CD, Lyric/Suite (Accretions Records), were developed and released in 2003. Their longstanding collaboration has cultivated a highly integrated lexicon of sound and movement. Inspired by diminutive, carved Japanese statues called netsuke, Horist and Monk strive to bring this exquisite manifestation of humans, animals, fantastic creatures, and deities to life. With the basis of a prepared guitar score developed in-residence and augmented by percussion and đàn nguyệt (Vietnamese moon lute), Horist has created a mysterious and emotive sonic world, which two dancers embody. Despite the score being composed for live performance, Horist recorded a version with Scott Colburn and further augmented the work with conventional guitar, bass, and other electronics, thus creating a work that stands beautifully and strangely on its own in addition to being a powerful component of the choreographed work. Tracks on Mutei vary wildly from dark drone to plaintive and playful; from meditative ambience to squalls of visceral noise. Bill Horist: electric guitars, đàn nguyệt, bass, percussion, objects, electronics; Davida Monk: choreography; Helen Husak: dancer; Walter Kubanek: dancer.
The Blue Quicksand Is Going Now
Following a series of EPs on the likes of Samurai Horo and Tri Angle, Olly Peryman wrote The Blue Quicksand Is Going Now during stints living in Europe and his hometown of Wellington, New Zealand. The album strikes a spectacular balance between the meditative and disruptive, and marks a continued move away from the high-octane experimental D&B productions that initially marked Peryman out (notably 2012's Duckdive EP), toward something that both viciously rips away and cascades with calm. Ultimately, despite its alien sounds, it is a move toward something more human; sonic explorations made in glorious isolation. Hand-drawn artwork by Brian DeGraw.
2015 repress. 3LP version pressed on white vinyl, which includes 2 previously-unreleased tracks; plus a CD of the full version of Minimal Nation.M-Plant presents a remastered special edition of Robert Hood's classic Minimal Nation, 15 years after it changed the face of techno. This album is justly revered as one of the most important and defining techno records ever made. Hood's iconic masterpiece, originally released on Jeff Mills' Axis label in 1994, stripped dance music back to the barest elements, yet retained a loose and dirty funk that many so-called "minimal" records lack today. Having inspired thousands of producers and DJs across the globe, and starting a genre a decade before it was popularly recognized, nothing before or since has sounded like it. Featuring the unreleased "SH-101" (made during the same sessions) and the very rare "Self-Powered" (which only appeared on the Axis test press), Robert Hood's Minimal Nation gets its first full CD release. When first issued as a vinyl double-pack, Minimal Nation not only sounded unlike any other record but also looked like no other -- with each track finishing in a locked groove that forced the listener to flick the needle to the next track. Each groove was built from harsh angular elements that, when combined, created an alien funk not bereft of warmth or soul -- a sound so unique that its single spark echoed around the world and took electronic music into new, uncharted territory. As Hood himself stated, "In order to maximize the feeling of the music, sometimes we have to subtract." In a world full of generic and similar-sounding records, Robert Hood's music jumps straight out of a DJ's set. While many more have joined the cause or jumped on the bandwagon, for Robert, "minimalism" remains just as much a way of life as a musical artform. To this day, Minimal Nation remains the benchmark, the ground zero of "minimal" -- the first record to conceptually take the Pavlovian principle of less is more straight to the dancefloor with its insistent loops and surging funk patterns. As Hood concludes, "Regardless of its diminutive nature, one should never underestimate the neural potency of minimalism."
Dis Cover - Donna Regina as Recorded By LP
Treasure Isle: Bond Street Special 1967-1974 LP
Cocoon Compilation O 6LP BOX+CD
Walls & Dimensions II 12"
The Scorched Earth EP 12"
Teenage Werewolf... Live CD
The Blue Quicksand Is Going Now CD
Calling Card/Mezzanine 12"
Double Barrelled Mitzi (Turbo Mitzi VIP)/Legion (VIPinch Mix) 12"
United Western Recorders Hollywood LA, October 1 1972 2LP
Invisible Light EP (Antigone Remix) 12"
It's All Good EP (incl. Myles Sergé Remix) 12"
Two Man House Band EP 12"
Limber/Undulate - Lawrence Mixes 12"
Bali 1928, Vol. III: Lotring and the Sources of Gamelan Tradition CD
Mississippi Blues 1927-1941 LP
Uzbekistani Bizzare and Souk 2LP
Charles Mingus Presents Charles Mingus LP
Everybody's a Fuckin Expert CD
The Early Years 1927-1933 LP
Further West Quad Cult LP LP
Live in Chicago - 1984 CD
1D Electronics 2012-2014 CD
John Howard & The Night Mail CD
Diaphra's Blackbook of the Beats CD
The Flowers of Romance CD
Kosmic Music from the Black Country 2CD
Live at the Hollywood Bowl 1979 CD
Black Solidarity Presents Mr Babylon CD
Light Wave: Today & Tomorrow CD
The Baby Huey Story: The Living Legend LP
Cabbalism I. & II./Cabbalism III. 3CD
Imaginary Choreography CD
Mutei - Music for Davida Monk's Dream Pavilion CD
Spies Are Watching Me/Le Disco des Capitales 12"
When the Rainbow Disappears: An Anthology 1965-68 2LP
The Baby Huey Story: The Living Legend (Colored Vinyl) LP
Blank Generation (180 Gram Vinyl) LP
Blank Generation (Colored Vinyl) LP
The Baby Huey Story: The Living Legend (180 Gram Vinyl) LP