We Release Whatever The Fuck We Want Records present a reissue of Nino Nardini's e Musique Pour Le Futur, originally released in 1970. An experimental, musique concrete, sci-fi masterpiece, available for the first time since 1970. Originally recorded for Crea Sound Ltd., a sub-label of Louis Delacour's Neuilly imprint, Musique Pour Le Futur finds the French composer, arranger, producer, possible time-traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani, or Bernard Parmegiani, will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a '70s Italian horror movie visit a distant (forbidden) planet from a '50s sci-movie. It's bizarre, hypnotizing, slightly spooky, always out-of-this-world, and goddamn brilliant. Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, TV, films) all around the world. His passion for electronic music experimentations began in the late '60s and kept going until the '80s. Housed in a phosphorescent glow-in-the-dark, heavy cardboard sleeve.
The classic minimal music album, available again on vinyl for the first time since the '70s. Primed with a glass of cognac, Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-colored overtones. For 45 minutes, this rich pulsating music swells and intensifies, filling the air. When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called minimalist company of La Monte Young, Terry Riley, Steve Reich, and Philip Glass, whose work also featured in the Shandar catalog. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times, the opulent fullness of his music would more accurately be described as maximalist. Strumming Music, recorded in Palestine's own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician. Although the technique of the piece has roots in Palestine's daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the color moods, plastic rhythms, and tactile space of Mark Rothko's abstract expressionist canvases. Strumming Music remains the essential index of Palestine's singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. "The Bösendorfer at its best is a very noisy, thick molasses piano," he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.
A reissue of Antibarbarus, issued as a compact disc in 1998, was the first edition Walter Marchetti released on Alga Marghen. The Antibarbarus cycle of five pieces makes use of original tapes coming from the same recording sessions that originated some of Marchetti's major musical works realized in the '80s, collected in his two CDs: 1989's Vandalia (NMN 076-4CD/NMN 083-5LP) and 1984's Per La Sete Dell'orecchio (NMN 083-3LP). This former series of works presented some homogeneous and untouched sound sources in the "concrete" status of their inner - and necessarily chaotic - level of entropy. Nevertheless this operative and only in appearance "neutral" premise introduces an implicit mimetic transposition. This link between the "iconic" threshold of the acoustical material and its transposition literally deconstructs the prerogatives and the ideological categories of music composition. In Antibarbarus, the temporal continuum restores the mimesis of the phenomenal regression of musical time, crystallized in a framed-length which gets estranged from subjective domain. But the transfiguration of sound sources now deliberately intends to de-signify the analytical prerogatives of hearing. The sensorial perception is in such a way inhibited from an immediate comprehension of the acoustic reality so reproduced: canis reversus ad vomitum suum. In the late 1950s, Marchetti was able both to formalize a more critical aim towards the established lingua franca and absolutist ideology of musical avant-gardism and to expand the sense of artistic praxis, in line with an ethical and subtly political evaluation of aesthetic experience. Marchetti was inspired by Cage's poetics of indeterminacy and subsequently created, through a close and indissoluble association with Juan Hidalgo and José Luis Castillejo, an original and de-ritualized form of action-music which led in 1964 to the birth of ZAJ group. Marchetti's work relays, in its procedural level, upon a resolute de-functioning of the musical codes and impose this act as a reversed mimesis of the methodological statute of music composing. Namely, not a "degré zero de l'écriture", but its "reversal"; not a "denial of style", but "style of denial". In this perspective, Walter Marchetti's oeuvre condenses one of the rare examples of aesthetic radicalism consciously extended to music poetics. Comes in full color gatefold sleeve; Includes printed inner sleeves (with photos of "Musica da camera n. 182", London, Raven Row, 1989/2011 and "Music in secca", Milano, Fondazione Mudima, 2003); Liner notes by Gabriele Bonomo in English and Italian.
Dagored present a reissue of Roberto Nicolosi's soundtrack for Mario Bava's super cult horror film Black Sabbath, aka I Tre Volti Della Paura, originally released in 1963. Lyrical pathos alternates with unexpected asymmetrical musical strings and some funereal organ chords mixed to more psychedelic musical moments and glorious chamber music orchestrations. Complete stereo version, including extra tracks, for the first time on vinyl. Comes on transparent vinyl; Includes plastic insert; Edition of 500.
Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement (2016), Hospital Productions re-examine a longstanding tradition of industrial ambient music on this exceptional collaboration between two of the label's most consistently innovative, highly absorbing producers. Originally released in a private press run of handmade tapes in 2016, the collaboration was made in person with both Alberich and Lussuria making use of digital synths in homage to that distinctly European scene of the mid '90s that combined hardcore industrial textures with ambient pulses. It's a sound you'll be familiar with if you've immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated somewhere between David Lynch, Kevin Drumm, and a more dystopian variant of Brad Fiedel's distinctive soundtrack to The Terminator (1984). Alberich's instinct for harsh propulsive rhythms is tempered here by Lussuria's weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing earthiness you'd find on a hardware session. Instead, the more linear trajectory of so many dark ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking sub bass sands keep things resolutely atmospheric for the duration. There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you'll hear this year, check this out. Edition of 500.
Soul Patrol Records present a reissue of I Like Woman. This is an album comprised of two super-rare Afro-beat disco/funk tracks from Lagos by the band Afro Super-Feelings, led the by artist/musician Segun Okeji. Segun Okeji was the tenor sax player in Fela Kuti's Koola Lobitos band in Nigeria in the late 1960s before changing their name to Africa 70, and this record, originally released in the late 1970s, uses that first-hand experience and influence to maximum effect with a pair of devastating sidelong saxophone-led jams. Up-tempo, chugging drums and a crack horn section, bass, guitar, organ, and backing vocals coordinate to achieve the hypnotic call/refrain/chant crescendo that was Fela's hallmark in his peak years. Players include Tunde Daudu on drums (The Benders), E. Ngomalloh on organ (Fela Kuti), Tutu Shoronmu on guitar (Fela Kuti), and others that played on releases by the C.S. Crew, Sonny Okosun, Orlando Julius, and Tony Allen. Edition of 500.
Unreleased material by Luc Ferrari, released here on Sub Rosa's Early Electronic series. Two tracks from the forthcoming three-CD box set devoted to Luc Ferrari's film music. Not only does the collection reveal a little-known chunk of Ferrari's oeuvre as a composer for the screen, it also sheds light on the ties between cinema and musique concrète, especially during the fruitful period that stretched from the 1960s to the 1980s. Tinguely (1967) is a musique concrète piece for a television program by C. Caspari. From recordings made by the composer in 1966 at an exhibition of Jean Tinguely's work. Once the 110V Liliput engine is turned on, the sculptures start moving instantly in unpredictable ways, as if they had suddenly become frantic. They move in disorganized and excited ways; each action brings them on the verge of self-destruction. Tinguely's "Balubas" illustrate how ephemeral and intangible art and life are. The "Balubas" carry joy and despair, fascination and disillusionment. Dernier Matin d'Edgar-Allan Poe (1964) is a musique concrete piece for a short 33mm black-and-white film by Jean Barral.
Feeling Good: Funk, Soul & Deep Jazz Gems - The Supreme Sound of Producer Bob Shad
Double LP version. Wewantsounds present Feeling Good, a compilation of rare spiritual jazz and funk grooves culled from legendary producer Bob Shad's Mainstream Records. The compilation features insightful sleeve notes by filmmaker Judd Apatow (who is Bob Shad's grandson), supervised by Matt Robin. Alice Clark's cult classic "Never Did I Stop Loving You" is featured here alongside many gems uncovered for the first time on this compilation, all remastered from the original tapes. From working with music titans such as Charlie Parker and Lightnin' Hopkins in the '40s, founding the EmArcy jazz label in the '50s, and discovering Janis Joplin in the '60s, Bob Shad has had an incredible influence. This handpicked selection gives you a little taster for the diversity of Bob Shad's sound from the early '70s when he turned to deep and soulful jazz alongside labels like Flying Dutchman and Strata East. Drenched in modal Fender Rhodes keys, spiritual sax and flute solos, deep percussions and funky beats, these albums have slowly been rediscovered by a new generation of DJs, hip hop producers and vinyl junkies all around the world. From Afrique's cult classic "House Of The Rising Funk" and its funky wah-wah frenzy to Hadley Caliman's deep jazz flute ode; From one of Clark Terry's famous "Mumbles" (Shad produced the original with Oscar Peterson) to Jack Wilkins's "Red Clay", sampled by both A Tribe Called Quest and Chance The Rapper. A soul music lover, Shad also excelled in soul divas and produced Ellerine Harding, Maxine Weldon and of course the mighty Alice Clark. To close the compilation in style, Carmen McRae, one of Shad's long time collaborators, gives a soulful, conga-led version of the classic "Feelin' Good", a song made famous by Nina Simone. It's a superb minimalist version showcasing the unique sound of Bob Shad, a passionate, spirited, and fiercely independent record producer who lived for the music. Features: Afrique, Blue Mitchell, Sarah Vaughan, Art Farmer, Shelly Manne, Alice Clark, Buddy Terry, Maxine Weldon, Barry Miles, Jack Wilkins, Clark Terry, Ellerine Harding, Hadley Caliman, and Carmen McRae.
Prix Presque Rien Prize
In 2010, Brunhild Ferrari decided to make public some of Luc Ferrari's original sound archives by offering a selected collection of recordings to other composers who may wish to use the material for the creation of original musical works. Her desire was to open this sonic treasure to other artists without wanting to impose any aesthetic direction on them, and with the only purpose of encouraging new artistic inventiveness. This edition presents the "Presque Rien Prize" winners and other selected works of the first three biennial contests, the most recent contest having taken place in December 2015. Each of the competitions has been concluded by a concert including the winning and other selected works of the competition. While 109 new works were submitted to the three initial editions, Association Presque Rien are delighted to keep receiving many other works from over the world for the forthcoming competitions. Features the following performers, listed by year: CD 1 - 2011 edition: John Palmer (winner), Elsa Justel (mention), Daniel Blinkhorn (mention), DinaBird and J. P. Renoult; CD 2 - 2013 edition: Bryan Jacobs (winner), Ayako Sato (mention), James Andean (mention), Masashi Isai, Andrea Belfi, Donia Jourabchi, Takuma Kuragaki; CD 3 - 2015 edition: Hideki Umezawa (winner), Lisandro Barbato (mention), Johannes S. Sistermanns (mention), Manfredi Clemente, Manuella Blackburn, Laurence Bouckaert, Dimitris Maronidis, Yingzi Li. The slipcase edition includes three CDs in individual digipak sleeves as well as a 68-page booklet in English, French, and Japanese with liner notes written by the composers, their biographies, title tracks, photos, and an introduction by Brunhild Ferrari.
Un Giorno In Una Piazza Del Mediterraneo
Black Sweat Records present a reissue of Zeit's Un Giorno In Una Piazza Del Mediterraneo, originally released in 1979. In the late '70s, the Italian music scene's renewed interest in sound research involved a stimulating fusion of popular elements, jazz improvisation, and suggestions of the middle-oriental classical heritage. Starting from the experience of Aktuala, the idea of a common "Mediterranean air" that could compare and harmonize rhythms and timbres of various regions, enlivened a large number of musicians. In this context, it also placed the short history of Zeit and one of their main member Andrea Tamassia, who played and recorded with Aktuala. Un Giorno In Una Piazza Del Mediterraneo, their first album, seems to be a continuation of Aktuala's music. It presents a compendium of styles and shapes, a collection of letters and visual notes from various places (Greece, Italy, Turkey, Hungary, Maghreb, Balcan Area, etc.), rearranged in the form of a hypothetical diary, in order to create an unknown narrative scenario. In the music of Zeit, there are no formalistic or philological purposes, but it triumphs with an attitude of imaginative incorporation that is always changing. The rich poly-instrumentalism brings the rhythms of dance and ancient melodies, but also results in a palette of more abstract and ecstatic sounds, with rare experimental lyricism that approaches the Florentine ensemble to the significant European experiences of The Incredible String Band or Third Ear Band.
Simultonality is the follow-up to Joshua Abrams's critically acclaimed 2015 album Magnetoception (MTE 063-64LP, 2015). Credited to Joshua Abrams and Natural Information Society (NIS), it is the first recording in the project's nine year, four album history made by a regularly gigging manifestation, rather than a special assembly of friends. Recorded in 2014 and 2015 in single takes by the full ensemble during and after tours of the US and Canada, Simultonality once more affirms the project's unique approach to joining traditional musics, American minimalism, and jazz with the Gnawa ceremonial instrument the guimbri. Stasis, continuity, and repetition, central qualities of Abrams language, defined Magnetoception, listed by many as one of the best records of 2015. These same qualities form the heart of Abrams's music on Simultonality. But where Abrams once said Magnetoception is about "winter and death", Simultonality, in Abrams's words, is an album of "pure motion". Without sounding frenetic it is the most explosive NIS music on record, and without sounding over-determined, it is Abrams's most structured and through-composed music yet. Much of it is also fast, a mass of densely patterned elements swiftly orbiting constantly reconfiguring centers that are variously harmonic and rhythmic, clearly stated or implied. The music is at no time any more disorderly than a colony of bees pollinating a vast garden. Its many moving parts function in mutualistic relationship toward fulfilling Abrams's long stated intention for the project: to help listener's achieve a meditative center and to consciously use music as a gateway to living. Abrams credits William Parker as an inspiration for this intention. The musicians on Simultonality date back to the nascency of NIS. Along with Hamid Drake, Mikel Avery and Frank Rosaly are Abrams first-call drummers for the project. On Simultonality, Avery is in the left channel, Rosaly the right. Astute heads may recognize the rhythm in "Sideways Fall" as Jaki Leibezeit's drum break in Can's "Vitamin C". At Abrams behest, the two drummers divided the beat into separate parts. According to Hamid Drake, the rhythm was popularized, if not originated, by John "Jabo" Starks and Clyde Stubblefield of the J.B.'s. Nearly ten years into its existence, Abrams and the NIS wear their influences with creativity and ease. Long standing NIS members, Ben Boye and Emmett Kelly, were previously together with Abrams, or not, in Bonnie Prince Billy's band, and Abrams and Boye have at different times played in Kelly's band The Cairo Gang. Harmonium player Lisa Alvarado contributes the large format pattern paintings used by NIS at concerts and for its album covers. Personnel: Joshua Abrams - guimbri, bass, small harp, bells; Lisa Alvarado - harmonium, Leslie, percussion; Michael Avery - drums and percussion; Ben Boye - chromatic electric autoharp, piano, Wurlitzer; Ari Brown - tenor saxophone (on "2128½"); Emmett Kelly - electric guitar; Frank Rosaly - drums and percussion, resonator bells. Pressed on premium quality audiophile vinyl by RTI, presented in replica audiophile dust sleeves and heavyweight Stoughton LaserDisc jackets screenprinted by Alan Sherry/Siwa. Edition of 825 copies.
Having made two superb psychedelic albums and gigged with The Doors, Frank Zappa, Pink Floyd, The Velvet Underground and many others, in June of 1969, The Mandrake Memorial came to London. The plan was to record with famed producer Shel Talmy (The Kinks, The Who, Pentangle), but when that fell through, they persevered alone. Long thought to be lost, 3 Part Inventions anticipates the woozy, dream-like vibe of their 1970 masterpiece Puzzle, combining eerie vocals, trippy guitar and otherworldly electronics to create a unique whole. Transferred directly from the master tape, it's released here for the first time, together with a detailed band history, rare images, two previously unheard outtakes from a 1969 acetate. LP version comes on 180 gram vinyl; Comes in a gatefold sleeve with a 16-page booklet; Includes a 7 inch with a picture sleeve.
Four archival mid '90s (acid) tracks, vintage using only analog gear: TR 909/TR 606 Roland System 100M, EMS VCS3, ARP 2600, TB 303, Jupiter 8, Korg DSS1. Freddy Fresh released on cult labels such as Electric Music Foundation, Labworks, Synewave, Drop Bass Network, etc. "Space Funk" previously unreleased on vinyl. RIYL: dark acid, Thomas Heckmann, Tim Taylor, Cari Lekebusch, DJ Slip, DJ ESP.
S S S S
Just Dead Stars For Dead Eyes
The multi-channel sound work Just Dead Stars For Dead Eyes is the result of Samuel Savenberg's two-week-long artist residency at Lucerne's Südpol in the summer of 2015. Originally available as a small-run cassette release through the Italian Haunter Records imprint (2015), Just Dead Stars For Dead Eyes has been carefully mastered for a vinyl issue by Room40 founder Lawrence English. During his residency, Savenberg explored the sonic environment of Südpol, doing field recordings around the building or recording pianos and even another resident, an actor whose fragmented and distorted voice can be heard throughout the two parts that make up Just Dead Stars For Dead Eyes. While this particular work does not necessarily explore a theoretical framework like Savenberg's previous releases under his S S S S moniker, it is not to be understood as an experimental piece, but rather an extension of his singular approach to electronic composition. Black and silver cover artwork; Comes as 180 gram vinyl.
Istanbul-based free music ensemble Konstrukt perform alongside special guest Alexander Hawkins, building the perfect groove in a sweaty Cafe OTO on August 10th, 2015. Two sets from the same night, each a 40 minute long improvisation. The first set is a psychedelic warm-up where the Turkish quartet welcomes Hawkins in a whirlwind of hypnotic funky tunes going electric in the Miles way. The second set starts with Hawkins piano keys bouncing along a silent background soon to be filled with a groovy odd drum tempo leading to a wall of sound where all parts build a perfectly unpredictable dialogue. Edition of 200.
LP version. As the 1970s turned into the 1980s, reggae's beat took another turn, slowing down to allow more space for the music to breathe. The new sound became reggae's focus, and the Roots Radics became one of Jamaica's finest session/backing bands at the forefront of this radical change. The Roots Radics were based around the nucleus of Errol "Flabba" Holt (bass), Lincoln Valentine "Style" Scott (drums), and Eric "Bingi Bunny" Lamont (guitar). Holt and Bingi Bunny had previously been involved in the Morwells label set up and had cut some popular tunes such as "Swine And Dine", "They Hold Us Down", and the great "Kingston 12 Tuffy". Before this, Bunny had played for one of the other great reggae sessions band, the Channel One based Revolutionaires. It was the demise of this legendary band, due to Sly and Robbie's commitments to their own Taxi label, that led to the formation of the Roots Radics. The Radics have worked with many different producers over the years including Linval Thompson, with the series of alums, Scientist's 1981 album Meets the Space Invaders (MIR 100738CD/LP) and 1982 album Scientist Wins The World Cup (MIR 100741CD/LP). They also worked as Gregory Isaacs's backing band and were responsible for the rhythms that made up his seminal Night Nurse set (1982). Jamaican Recordings have caught the Roots Radics for this set of cutting rhythms in their favorite environment, the famous Channel One Studios. On this occasion working with producer Ossie Thomas for his own Black Solidarity label. A match made in heaven.
Mannequin Records present an archival collection from the genesis of Orphx's sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathering together some of the best material from their first two cassette releases, released in 1993 and 1994, along with previously unreleased tracks recovered from the original four-track tapes. Mastered by Rude 66; Graphic design by Alessandro Adriani. Edition of 500.
Five LP box set version. "Following the reissues of Brother Ah's three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah's unique sound and musical vision. Released as a 5xLP box set, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance. The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria's Vienna State Academy, he emerged in the late '50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the '60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late '60s, his interest in non-western music developed, and his '70s and '80s recordings, incorporated elements of Eastern and 'Third World' music, fusing them with jazz structures."
I Musik marks the third piece from the duet of Hannes Norrvide and Frederik Valentin, aka Kyo. With each release, the pair shift the project's aesthetic equilibrium, forcing a new constellation of resonances, handing the listener a new beauty. The melodramatic pause that their previous album, Aktuel Musik (PI 174LP, 2016), circled with enthusiasm, is now considered from a greater distance. Perhaps it is because society has now arrived somewhere? There is a hopeful melancholia that has come with this distance, and it is put to use to describe a scene that feels as human as it is synthetic, as if the world you know is now behind glass. Futures imagined are being recalled, futures undiscovered are being explored - Norrvide and Valentin manage to encode a sense of endlessness to such processes quite casually. The acoustic surfaces brush electronic reflections with an understated sincerity, all of which feels whispered to you by a familiar voice in familiar phrases. RIYL: James Ferraro, Torn Hawk, Dean Blunt.
Berlin collective Away ready the fourth release in their catalogue. They present a split two-tracker from label mainstay Move D and his pairing with Jonah Sharp under their collaborative guise of rEAGENZ. Harnessing this attitude and channeling the collective's Detroit influences, Away have developed their imprint which has so far taken shape over a set of three analog-heavy various artist releases. Next in line follows suit in melding tough drums with Motor City pads. Natural in their progression, both tracks spark ardor as they steadily develop adding another fine addition to a blooming catalogue.
"Oh the joy of leaving you with this mystery. No one really knows exactly who the Pilgrims Of Peace are or how their music ended up in our hands. But this dubbed out two-tracker is so smokin' hot, we don't really care, the music will take you there..." --Prins Thomas. Horisontal Mambo is a new sublabel by Full Pupp in Oslo.
Mannequin Records celebrate their nine year anniversary with a reissue of Diaframma's Siberia, originally released in 1984. A masterpiece of '80s Italian new wave, and a cornerstone of Italian rock. At the end of the '70s Federico Fiumani, together with two classmates, gave life to CFS. The acronym is formed by the initials of the members: Gianni Cicchi (drummer), Fiumani (guitar and voice), and Salvatore Susini (bass). Later, Susini was replaced by Cicchi's brother, Leandro. The new incarnation of Diaframma was born, with the singer now replaced with Nicola Vannini. From their earliest moments, they shared the same stages as Neon, Pankow, and Litfiba, who all contributed transforming the Tuscan capital into the epicenter of post-punk in Italy. After their first single Pioggia / Illusione Ottica (1982), a split with Pankow (1982), and the mini-album Altrove (1983), the beautiful lyrics of the guitar player and leader Federico Fiumani exposed the band as one of the most popular in the Italian scene. In 1984, Diaframma signed onto IRA Records and Nicola Vannini was replaced by the painter and sculpturist Miro Sassolini. With Miro on board, Diaframma recorded Siberia, 3 Volte Lacrime (1986), and Boxe (1988), unwittingly laying the blueprint for the future generation of Italian alternative music scene. Siberia is one of the most successful attempts to combine derivative Anglo-Saxon musical styles and songs written in Italian. Siberia's title track is a masterpiece that highlights Fiumani's skills, drawing trajectories with his guitar in line with the metaphorical descriptions of a "big chill", reflecting the mood and social climate of Italy in the early '80s. Epoch-making is actually an adjective suitable for the album, filtered through the sensibility of memorable songs like "Neongrigio", "Amsterdam", "De Lorenzo", and "Specchi D'Acqua". An Italian breath, where the lyrics of Fiumani are totally lost in the symbolist poetry, represents a perfect model of harmony between the Italian metrics and the sound and rhythm of English post-punk. Siberia pictures Italy's first attempt to emerge from the exciting comfort zone of the "underground" to deal finally with the real market (IRA sold approximately 50,000 copies at the time), where the tradition of the Italian song-writing was merging with the musical forefather, such as Joy Division, Echo & the Bunnymen, and Television. In February 2012, Rolling Stone placed Siberia as #7 on their poll of the 100 most beautiful Italian records of all time. Edition of 600.
Dubfire and Miss Kittin scored another big hit with their second collaboration Ride (SCITEC 171EP, 2016). Here, they unleash a pack of remixes. Solomun's remix boldly displays his affinity for heads-down techno. It centers around ticking percussion and pulsating synth delays with a throbbing low end. Matthew Dear dons his Audion guise to remind the listener how instrumental he was in formulating that oddball techno sound a decade ago, making good use of the vocals in the heady breakdowns and matching them with unsettlingly wavering synth sirens and an almost tribal bass stomp.
Eremite present Byron And Gerald's Unity, a private press free jazz album recorded in 1969 at Howard University and the first release on Byron Morris's EPI label. It is the only hardcore free jazz record out of 1960s DC, and a viscerally powerful cultural dispatch on the sociopolitical upheavals of its time. From Byron's 2017 liner notes: "In the early spring of 1969, several months before moving to Poughkeepsie, NY, Gerald Wise and I, along with the recording engineer Len Jones, conceived of the idea to gather a group of musicians who were like-minded concerning 'The New Thing' (Sun Ra, John Coltrane, Ornette Coleman, Eric Dolphy, Booker Little). Most of the musicians we asked to be part of this experiment we knew from jam sessions or were already part of Unit Five. Eric Gravatt suggested we invite two of his musician friends from Philadelphia, Byard Lancaster and Keno Speller. I wrote a musical composition for the date dedicated to my father, 'JWM+53.' My friend Earl Snead wrote the other composition, 'Black Awareness.' Earl passed shortly after the session. The recording session took place at the studio of an experimental TV channel that leased space on the campus of Howard University. Gerry and I welcomed all the musicians and thanked them for being part of the session. The scene immediately took on a magical atmosphere, with everyone going about their tasks as if they had cue sheets. In the center of the room we laid out our instruments on two 4x8 tables. That way we could just pick up any instrument and play when the spirit hit us. I had two altos (one plastic) and a curved soprano. Jerry Wise had his trumpet and some hand rhythm instruments. Byard Lancaster had an alto sax, flute, trumpet, and some hand rhythm instruments. Vins Johnson had a tenor and a baritone sax. Keno Speller had a bell tree, tambourines, claves, drum sticks, felt-headed mallets, and a set of amplified conga drums. Inside the tables our two drummers, Eric Gravatt and Abu Sharrieff, sat face to face with two full drum kits and microphones all around them. Next to them were our two bassists, Fred Williams and a young man named Chris (whose last name, sadly, I cannot remember). To this day, I wish the proceedings had been filmed. The energy level was so high that Byard Lancaster did push-ups when not playing (I believe I remember Vins Johnson and Keno Speller also doing some). In spite of all of the excitement, everyone wanted to make a serious musical statement and cooperated in taking directions from Len Jones, Gerry, and me. It was orderly excitement, the collective 'We' caught-up in the moment. Ornette's Free Jazz (1961) and Trane's Ascension (1965) address much of what we were attempting in the studio that day in 1969. . . . In point of fact, most if not all of us had witnessed firsthand the physical excitement and, in some moments, pure terror of the urban riots set off in the spring of 1968 by the murder of Dr. Martin Luther King, Jr.. Washington, DC, exploded with anger and the looting and burning of businesses throughout the city. U.S. Army troops, along with Air Force and Navy/Marine elements, were sent in to quell these massive urban disturbances. During the recording of Unity our collective emotions were still raw, to say the least. Here and now, nearly a half of a century later, I can still smell the tear gas and the burning tires. I get chills just thinking about it. But the music got us through that time... and the music gets us through now!"
Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine
LP version. "It seems like we are heading towards even more unsettling times in the near future than we are in at present," reckons Chris Haslam
. "2016 is just the beginning of what I see as the establishment's systematic destruction of liberalism and equality as a reaction to the general public's loss of faith in their system." Charged by this outlook, Gnod's new album, Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine
, represents a hitherto uncharted level of antagonism and adversarial force for the band - an artistic statement as righteous, fervent and direct as its title. "On the surface it could almost seem like there's no political art movement out there to oppose what's happening, but there is - we know there is," adds the band's Paddy Shine
. "Maybe that movement is struggling to find its voice as a cohesive whole right now but that will change." Fueled by their militant drive and unyielding ardor, Just Say No
refracts Gnod's harsh and repetitive riff-driven rancor through a psychotropic haze of dubbed-out abstraction, with Paddy's incendiary vocal delivery to the fore. Gnod - fiercely independent, never comfortable in one place artistically for any duration of time, always with their coordinates set on uncharted territory and the next challenge ahead, and delivering a monument of ire and iconoclasm.
Gunsmoke Volume 2: Dark Tales Of Western Noir From A Ghost Town Jukebox
Stag-O-Lee present the second volume in a new limited edition series, Gunsmoke. This is a collection of oddball country weepers, moody rockabilly, and popcorn noir from the 1950s and early '60s. So turn out the lights, sit back and relax to the soundtrack from a jukebox in a ghost town. For best results: listen to after dark. Packaged in a nice 10" sleeve with hole; Edition of 666. Features: Billy Fury, Steve Arlen, Jerry Irby, Johnny Pelvin, Magnificent Seven, El Clod, Warren Smith, Steve King, Danny Welch, Ric Cartey, Johnny Bond, and Sons Of The Pioneers.
Originally released in 1993. Bamba is a classic. Recorded in Dakar and released on a pair of cassettes in 1980 and 1981 in Senegal only, these tracks had become legendary well before Sterns Africa discovered the original tapes and reissued them on one CD in 1993. This set marks an early peak in the glorious history of Orchestra Baobab: the time when the band boasted five singers, including the magnificent Thione Seck (who soon embarked on a brilliant solo career) and the plaintive-voiced Medoune Dialo (who later went on to form Africando), and the time when guitarist Barthélémy Attisso was honing Carlos Santana's influence into a dazzling, multihued African psychedelia. "Bamba is simply a great album, and the perfect place for rock-oriented listeners to enter the realm of West African pop music." --AllMusic
A Shot In The Dark EP
This new edition to the everlasting Tresor catalogue marks the return of Pacou, more than five years after the release of his last full EP, Sense EP (TRESOR 246EP). Three recently produced tracks in the true sound that defines the work of the German techno expert, meet a remix of "A Texture". Initially released on his 1998 Symbolic Language album, "A Texture" is a distinctive interlude, so supreme that it remains a Tresor favorite.
Wilde Calm Records present a new EP of modern percussion edits from Brooklyn producer Boonlorm. This collection of reworks was started around the same time Boonlorm began recording String Figures, his album of prepared piano house music (SDGWC 1401CD, 2014). It shares a similar sound to String Figures' rich combination of tonal, atonal, and percussive timbres. By adding his raw drum programming to tease out the latent "techno" qualities in these modern percussion opuses, Boonlorm once again pays homage to Chicago, Detroit, and the 20th century avant-garde.
"This new duo LP, the first recorded by guitarist Tony Pasquarosa and drummer John Moloney (aka The Meatball Twins), is a masterpiece of lateral drift. Recorded as something like a tribute to the spirit of Farrell 'Little Rock' Sanders (also known as 'The Son' in the saxophonic Holy Trinity, along with Coltrane's 'The Father,' and Ayler's 'The Holy Ghost') there is no music here specifically recalling Sanders's work. But much of it seems to spring from a place that is illuminated by Sanders's artistic freedom, and his utilization of Middle Eastern symbols and motifs both inside his music and as part of his artistic statements. Tony's acoustic guitar playing makes me think of the work of India's great string master, Brij Bhushan Kabra. Raga-like twirls and filigree emerge like puffs of wet smoke, drifting away lazily in the sharp light of a winter's afternoon. And Moloney, who is best known for throwing down thunder with Sunburned, Chelsea Light Moving, Dino Jr, Caught On Tape and other Giants of Thud, matches Tony's mood effortlessly. Sweet light rhythm patterns are not something one often associates with Moloney's music, but his playing here with both percussion and wind show a very different side of his chops. At some points the overall sound recalls one of Sandy Bull's 'Blends' with Billy Higgins, but the music on My Pharaoh, My King is entirely its own trip. And it is a damn good one. Enjoy it with a meatball today!" --Byron Coley, 2017 Edition of 500.
"Run-DMC's self-titled 1984 debut pushed the doors of pop music open, showing that hip-hop was not the fad that haters had prophesized. As they proved decisively on Run-DMC, rap was a legit art form, fully capable of producing long-players full of no-fast-forward cuts. By 1985, any doubters were running on fumes, as the group's King Of Rock blew the aforementioned pop doors off their hinges. Emboldened by their success (including the first rap album to ever go Gold); energized by worldwide touring and accolades; and given all the support they could want by a genius producer (Larry Smith), an open-minded label (Profile) and a charismatic manager (Russell Simmons, who also lent a hand on production), they ruled the charts and hinted at even greater things to come. The album's most fondly-remembered single set the album's tone perfectly: 'King Of Rock' was hard, full of charisma and tag-team vocal finesse, and had enough guitars to bring the suburbs into the rap fold. The song's video was equally popular and powerful, and the pioneering MTV exposure drove the group into a new stratosphere. But there was much more to King Of Rock than the title track, including more rock / rap hybrids -- 'Can You Rock It Like This' and 'You're Blind' -- as well as the additional singles 'Jam-Master Jammin'' and 'You Talk Too Much.' (The latter, incidentally, charted as high as 'King Of Rock' on both the Pop and R&B charts). Throw in the forward-thinking reggae/rap collab 'Roots, Rap, Reggae' (featuring the legendary Yellowman) and the live-throwdown-simulation 'Darryl and Joe (Krush-Groove 3)' and the album -- which went on to pass Platinum status -- is a winner from A1 to B4."
" 'Wherein we come upon three visceralists who have been collaborating for years - innumerable instances in a roulette wheel of settings -- finally shacking up in a studio and fashioning a proper trio record. Glory be. Let's listen in-- 'These.' It's a phrase that never gets started, and an apt title for this record, which right off bolts from the barn and burns so brightly it nearly gets away from you by the time you're done twisting your head around looking for whoever it was that left the door open. 'He asked me when I planned to come back. Always, I said.' Nace's guitar mines savage depths, egging on the propulsive swing of Flaherty and Corsano. The results are as beastly as the heart itself. Swing. Bounce. Joust. Jab. Uppercut. Flutter. Wink. Sneer. They all play with anguish and ecstatic rupture -- the frustrating joy of pushing an instrument to its limits, fashioning a necessary and brutal needlepoint. They move with all the otherworldly elegance and mania of moths at a lamp show. The music asks no specific questions, but wrenches open a space for all manner of questions -- this is one of art's most vital functions! It deals in shades, no matter how sharp the apparent angle. Check out the second track on the first side: the solemn bells of Bill's guitar signal not so much a funeral, but a new dawn after a tragedy. Flaherty's saxophone sounds innocent, almost tentative at first, but as Chris' drums chime in, Paul starts to wrench the fabric loose. The track builds into a fierce and alien vista, charting a territory all its own -- a simmering judgement. It becomes hard to talk about. Didn't you ever try to eat your own tail in the midday sun? No? These three, whose veins are coursing straight through with a nuanced emotional lexicon and the smarts to harness it, have given us a record that expands potential with each listen." --Matt Krefting, Holyoke, MA 2017
Trunk Records present a reissue of Klaus Weiss's Time Signals, originally released on Selected Sound in 1978. This hectic mix of dark drums with plugged-in, way-out, funked-up studio gear has been high on library geeks' want-lists for years. Made by Niagara drummer/library overlord Klaus Weiss, and including the monster that is "Survivor", originals are super rare, going for up to $300 if you can ever get near one. Standard black vinyl comes in a varnished bronze sleeve - a replica of the original LP.
Jonny Trunk on Time Signals: "It was way back in the mid-1990s when fellow record collector and library music head Gareth Godard (AKA Cherrystones) first played me Selected Sound library LP 67, Time Signals. At the time -- and I think it's still the case -- Gareth was into Klaus Weiss. Weiss was the drummer for Munich supergroup Niagara, he could be found on library LPs we were digging up on the Conroy and Golden Ring labels, and his name would appear across early 1960s jazz LPs from Germany. His drumming sound was mechanical, peculiar, unpredictable and distinctive. But nothing he'd done that I'd heard sounded quite like Time Signals. It was more manic and experimental, and the sounds and slightly offensive rhythms burrowed into my brain almost instantly. It probably took about another three years to recover and find myself a copy, and even then I'd found the sounds completely at odds to anything else I knew about. A few years later Gareth also pointed out to me that this LP was all over Rockin' With Seka, a jet set hardcore movie from 1980 starring Swedish sensation Seka and Big John Holmes. Obviously the sound department on the film got busy with Selected Sound as another cue from the LP Nymphe (1979) is also on the soundtrack. But that is exactly what library music is for; Selected Sound produced these amazing library LPs, all beautifully recorded, sent them out in their shiny bronze sleeves around the world with rough guides to what they might be good for and waited for the royalties to roll in. Time Signals is probably the most desirable LP in the 9000 series catalogue. It sounds like nothing else and there are many high points, certainly something for everyone. And as musical tastes change and develop, Time Signals just seems to move along and fit. What seemed like otherworldly music to me two decades ago now seems like the norm. So here is Time Signals in all its odd glory, offering you a futuristic musical trip like no other."
Next up on Baum Limited Picture Edition are two Berlin based producers who don't need any introduction, youANDme and The Analog Roland Orchestra - pure quality music. Two deep dub techno cuts with deep bass and atmospheric FXs.
Mamadou Kelly transforms desert blues with modern sophistication. Mamadou Kelly's third album, Politiki brings Kelly and his group BanKaiNa together with Grammy-winning steel guitarist Cindy Cashdollar, drummer Susie Ibarra, bassist Jake Silver, and guitarist Dan Littleton, into a dynamic fusion. Backing musicians for such Malian greats as Ali Farka Toure and Afel Bocoum, Kelly and BanKaiNa push traditions into new waves of sound from the Sahara.
Piano Cloud Series - Volume One CD
Prix Presque Rien Prize 3CD
Un Giorno In Una Piazza Del Mediterraneo LP
Il Cerchio Degli Antichi Colori LP + 7"
1972 Blues Jazz Session LP
Black Sabbath (I Tre Volti Della Paura) LP
3 Part Inventions LP + 7"
Live At The Ash Grove, 1967 Volume 1 2LP
Just Dead Stars For Dead Eyes LP
Toccata Vocale/Ursprache 7"
Walkin' Down The Line: 1962-1963 Demos And Rare Tracks LP
Roll Split/460 Melrose Ave 12"
One Things Leads To Another LP+CD
Garrincha - Estrela Solitaria CD
Amplificador - Novissima Musica Brasileira: The Brazilian 10's Generation LP
Rhythm 4 Tha Dancefloor EP 12"
When Good Times Turn Sour 12"
The Sugar Cane Chronicles Vol. 2 12"
Voicespace I, III & IV CD
Music As A Second Language CD
Chris Mann And The Use CD
In Sara, Mencken, Christ and Beethoven There Were Men and Women CD
Love Means Taking Action Remixes LP
Grooff Machine Remixes 12"
Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine LP
Colonial Past/Bodylock 12"
Gunsmoke Volume 2: Dark Tales Of Western Noir From A Ghost Town Jukebox 10"
Francophonic Vol. 2 2CD BOX
On The Nature Of Daylight - Music From The Film Arrival 12"
Perc & Truss Proto Remixes 12"
Lifestylez ov da Poor & Dangerous 2LP
A Shot In The Dark EP 12"
Nouvelle Vague: Pop, Mambo, Cha Cha, Jazz, Bossa Nova With A French Touch Vol. 1 LP
Nouvelle Vague: Pop, Mambo, Cha Cha, Jazz, Bossa Nova With A French Touch Vol. 2 LP
Disco 2.0: Fever's Risin' Again 2LP
Bossanova: Cool Bossa Nova And Hip Samba Sounds From Rio De Janeiro Vol. 1 LP
Bossanova: Cool Bossa Nova And Hip Samba Sounds From Rio De Janeiro Vol. 2 LP
Feeling Good: Funk, Soul & Deep Jazz Gems - The Supreme Sound of Producer Bob Shad 2LP
The Hermit/The High Priestess 12"