Brazilian Disco Boogie Sounds 1978-1982: Selected by Junior Santos
Brazilian Disco Boogie Sounds is a compilation that brings together nine of the most important and obscure hits of the Brazilian funk-boogie-disco scene during the years of 1978 to 1982. Junior Santos has been a carioca drummer since he was 15 years-old, and is today a respected vinyl collector and music researcher. More than anything, he is carried on by the love of Brazilian music, which has never been forgotten. Favorite Recordings' initiative of seeking a unique project with Brazilian music spurred Junior to dig into old record companies' files and bring out pearls from what he sees as the end of the samba-rock period. At that time, musicians and arrangers such as Lincoln Olivetti, Robson Jorge, and Oberdan Magalhaes, along with Banda Black Rio, were responsible for the new music scene. They had dominated the studios with sophisticated and original arrangements that have forever transformed Brazilian musical perspective. This music, at that point, had gained a new style and great world respect that has remained up to contemporary times. Brazilian Disco Boogie Sounds pays tribute to this great era. Artists include Cristina Camargo, Solange, Sandra De Sa, Rabo De Saia, Claudia Telles, Carlos Dafe, Famks, Painel De Controle, and Paulo Ramos.
"Although I was not yet aware of the extent to which casinos tailor their environments for maximum comfort (and, correspondingly, profit), I did know as I crossed the threshold of my first casino floor earlier this year that it would not be my last visit. Hit by a cornucopia of slot machine tones, triggering aleatorically and coalescing into shimmering masses, I was struck by the need to return and record the sounds that so entranced me. It wouldn't prove to be easy--casino security is intense (you can hear me get warned of the consequences of taking photos at the beginning of the disc's second track)--and due to the clandestine nature of the operation, my recording techniques were by no means sophisticated. Equipped with nothing but an Olympus LS-11 recorder's internal microphone stashed in a sweaty coat pocket, I allowed the lure of the zone to guide me through a series of ambling recording sessions over a period of four months, the best of which are included here. I learned a lot about casino sonics in the process: game designers, for example, tune their machines to the key of C in order to optimize harmonic cohesion; one team of designers, the story goes, even spent a month perfecting a single 'ding' sound on one machine. In the interest of preserving the true ambient sounds of the casino these recordings are completely untreated, but lost in the sea of chance I did exert some affirmative control by means of meandering intent and my actual playing of the machines. And by participating in the games myself I got a taste of the financially debilitating consequences that accompany the enchantment of video gambling. The disc in your hands represents my endeavor to bring you the zone experience without the harsh comedown of its unfortunate reality." --Adrian Rew
The first vinyl release on Her Records, following a string of digital releases. Fraxinus, the Devon, England-based club specialist, delivers grimy rebuilds of a classic Baltimore club vocal, Big Ria's "Hey U Knuckleheads." The A-side bucks wild with flanging subs and skittish rimshots yoked to a slamming kick and that militant sing-along vocal, flipping Baltimore ghetto music with sharp UK diction. The B-side, "Off Ends" (or "All Ends VIP" to the fiends), ratchets up the energy levels with rasping claps and ballroom kicks, lending a fractured tension to Ria's hood shoutouts. Both tracks are as rude as they come.
Hamburg's Marc Richter has been busy with his Black To Comm project since his last appearance under that name on Type, 2009's genre-bending and critically acclaimed Alphabet 1968 (TYPE 053CD). Aside from helming the prolific Dekorder imprint, he's put out a number of musical curios, including 2012's excellent film soundtrack EARTH. Now Richter is back with Alphabet 1968's proper follow-up, a self-titled double album pieced together from crumbling samples, vocal snippets, and an arsenal of noise generators and filters. Richter's material has always been characterized by an air of surrealism, but it's never been more obvious than on the pulsing, chattering opener "Human Gidrah" or in the delirious, fractured pop of "Hands." There are real songs hidden in here somewhere, but they're disintegrated by Richter's sound manipulation techniques and dissolved into soupy, extended drone marathons. The centerpiece is undoubtedly "Is Nowhere," which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never losing the listener's attention for a second. Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richter's dusty, unique sound has never sounded so well-honed and pointed, and it's a patchwork of ideas and fragments that only improves over time. Mastered and cut by Matt Colton. Artwork by Andreas Diefenbach.
Rare -- remastered edition of Janko Nilovic's album Super America, originally released in 1976. Janko Nilovic was one of the greatest European studio talents in the '70s. He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them are on library labels not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psych and easy listening. Sampled many times by hip-hop artists such as Jay-Z, Dafuniks and Guts.
Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it's a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener "Time Away" featuring euphonium played by Kim Holly Thorpe and last track "Missing," a contribution by Stott's occasional vocal collaborator Alison Skidmore, who also appeared on 2012's Luxury Problems. Between these two points Faith in Strangers heads off from the sparse and infected "Violence" to the broken, downcast pop of "On Oath" and the motorik, driving melancholy of "Science & Industry" -- three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with "No Surrender"-- a sparkling analog jam making way for a tough, smudged rhythmic assault, while "How It Was" refracts sweaty warehouse signatures and "Damage" finds the sweet spot between RZA's classic "Ghost Dog" and Terror Danjah at his most brutal. "Faith in Strangers" is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott's mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott's career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light, lingering on in the mind like nothing else. CD comes packaged in a 6-panel digifile.
"In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann 's epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rózmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early '80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all." --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.
The Travelling Archive - Folk Music from Bengal: Field Recordings from Bangladesh, India and the Bengali Diaspora
The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.
"His music was cool and modern, but there was a hot heart inside. Komeda was a film composer par excellence. He gave truth to my films. Without his music they would be meaningless." --Roman Polanski; Volume one of this Krzysztof Komeda series on vinyl looks at Komeda's classic work for Polanski's Knife in the Water (Nóz w wodzie) (1962) along with rare earlier recordings that have never been on vinyl before. These were recorded by Komeda's progressive trio at the legendary Jazz Jamboree Festivals in Warsaw. Together these recording signify a sea change in the sound of modern jazz -- especially in Poland where it had been banned until Stalin's death in 1953. By the early 1960s, Komeda had found his modern sound, one which he would build on and develop through various film scores and free-jazz sessions. His untimely death in 1969 left the jazz world with a small but significant hole, one that seems to grow bigger as more people realize just how unique and versatile his music was.
New and somewhat cheaper version of this box set first released in 2007, in only slightly less elaborate packaging. It is certainly surprising that until now an exhaustive recognition of the work of Charlotte Moorman has not been undertaken. The cellist can be numbered among the most charismatic and influential protagonists to have appeared on the avant-garde or experimental music scenes since the early '60s. A documentation of her activities as a performer is generally available only in various catalogues which document the crucial intersection with the work of Nam June Paik, or the association with manifestations and events connected with the so exquisitely realistic gestures of the Fluxus movement. To have accepted the transformation of herself into a "living icon" through the works realized in collaboration with Paik, has perhaps contributed to obscure a part of her individuality. As Giuseppe Chiari correctly noted, in a text which is authoritatively integrated into the documentation provided by the present publication, Charlotte Moorman's oeuvre can in fact be sympathetically felt only in the absolutely "unique" character of her interpretative gesture, a character which justly identifies her originality, her capacity of an authentic "author." The presence of Charlotte Moorman as catalyst must be realized in such an evaluation. Cello Anthology is a collection of documents -- sonic and photographic -- as well as original texts and testimonials, which permits a complete recognition of Charlotte Moorman's work. The biography and chronology faithfully reproduce the materials that the artist herself had ordered in booklet form. The range of her activity not only as an interpreter, but also as a promoter of the avant-garde artistic research progressively open to intersecting with the most varied disciplines -- from music to sound and concrete poetry, form visual and plastic art to cinema and to video art -- is moreover reconstructed through an unpublished text with which Charlotte Moorman meant to review the history of the fifteen editions of the New York Avant Garde Festival she organized between 1963 and 1980. At the core of her uninterrupted performative activity, here documented across a rich iconographic apparatus ordered chronologically, the works realized in collaboration with Nam June Paik doubtless represent a culminating moment in her striking career. It therefore seemed appropriate to also integrate the transcription of the primary texts and documents pertaining to them, to better perceive to what extent the aesthetic project of the Korean artist was indissolubly bound to the peculiar "corporeality" of the cellist's performance "gesture" and to her absolutely unique capacity of translating the musical experience within the limits of her own non-exchangeable physical presence. Giuseppe Chiari's affectionate testimony dedicated to the faithful interpreter of some of his most important works of the early '60s --works which affirmed the Florentine artist on the international scene --and the reprint of Gisela Gronemeyer's poignant essay dedicated to Charlotte Moorman, likewise offer a useful explanatory setting for the introduction of these copious texts and documents. Here, the work of Charlotte Moorman can be appreciated by means of a significant selection of vintage recordings. The first two CDs highlight a pair of exceptional documents -- a performance recorded by radio station WBAI in New York on September 12, 1964, and a concert from July 25, 1966 in the Theatersaal in Aachen, Germany. These events superbly represent the type of repertoire that Moorman and Paik cultivated and proposed in the U.S. and Europe, in the years following their meeting, in their memorable "duo" exhibitions. The programs of the two concerts present several homogeneous choices and others more clearly divergent. The Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of "ritualistic" meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive program, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several tried and true war-horses of their exhibitions which recur or are distributed equally in both concerts ("26'1.1499" for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi and two works by Giuseppe Chiari: "Per arco" and "Ave Maria di Schubert," both of which were written for the cellist and dedicated to her), in the premiere of Earle Brown's "Synergy," a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of "Plus Minus" by Karlheinz Stockhausen aided by Paik's Robot in the WBAI concert, as well as, in the Aachen concert "Sonata No. 1 for Adults Only" and especially the first performance of "Opera Sextronique," both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. The second disc includes another unspecified rendering of Ichiyanagi's "Duet II" and an abbreviated version of Cage's "2'1.1499" for a String Player." Of the famous "TV Cello" -- conceived by Paik for Moorman as a "living sculpture" -- the third CD offers an in situ recording realized on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on 11, 12 and 14 September in 1982. This version contains respectively the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes," largely improvised, "including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience." The fourth CD restores three other documents -- a choral work performed on September 3, 1964, during the second New York Avant Garde Festival, a performance of Jackson Mac Low's composition "The Long Hot Summer," sees in an exceptional reunion the names of Charlotte Moorman, Nam June Paik, Benjamin Patterson, Philip Corner, and Malcolm Goldstein, as well as Mac Low himself. On the relevance of this performance, distinguished by a marked ethico-political intonation and valence, Philip Corner dwells extensively in an unpublished text printed here as an attachment to the sonic documentation. The voice of Charlotte Moorman, characterized by her unmistakable vital charge, is brought back to us through a long and meaningful interview conducted by Harvey Matusow in October of 1969 in the BBC New York Studios. The soundtrack of the video "Waiting for Commercials," realized by Paik in 1972 in collaboration with Russell Connor, whose sound collage integrates musical insertions by Charlotte Moorman and David Behrman, completes the anthology put together and offered here. Luxury edition including a 154-page book with original documents, full-color photos and scores; a set of 16 full-color inserts reproducing the original posters and programs of the Annual Avant Garde Festival of New York; 4 compact discs. Slipcase edition limited to 250 copies.
Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl -- one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs' debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Nature's release, and sought to make a definitive break from black metal's musical signifiers, if not its underlying themes of alienation and abjection -- a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship (BLACKEST 018LP). Privacy arrives barely a year after its predecessor, but it's a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work -- the no-frills 4-track recording capturing all the violence and nuance of del Rio's vocals, of the dual guitar rapport, and the machine-gun rhythm section -- but this time they're interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though it's practically impossible to describe Raspberry Bulbs' music without mentioning punk or metal, the band's most important influences are literary: in particular Lovecraft, Machen, Chambers' et al. Includes mp3 download.
The Polar Bear is the third album in Yorkshire-born composer, singer, guitarist, and maverick troubadour Michael Chapman's series of improvisational music. The first, 2011's The Resurrection and Revenge of the Clayton Peacock (PTYT 068CD), was Wire magazine's #5 album of the year. It was widely well-received by press and fans alike as another highpoint in Chapman's late-blooming career, which has been boosted by the public recognition of his talents from the likes of Thurston Moore, Jack Rose, and Will Oldham. The second in the series, 2012's Pachyderm (PTYT 070CD/LP), is a minimalist masterpiece, a single-chord ambient work quite unlike anything Chapman had ever done before. It won him further widespread supportive reviews and a sold-out UK tour with Moore; out of that tour comes the duo heard on The Polar Bear's noise epic "Six, Two, Thirteen." The new record also features Chapman's experiments with cello accompaniment, as well as some pieces showcasing his own atmospheric slide guitar work -- further proof of Chapman's relentless search for new musical adventures. Almost half a century after his 1960s beginnings on EMI's legendary Harvest record label, Chapman, at age 73, is playing better than ever.
"Born in Sidi Bel Abbess, Algeria, El Mahdy Jr. is an audio collagist who masterfully splices devotional music into a blunted blend of half time bass and mystic sound. Familiar in its bass weight and its global melt, but completely new and enveloping in its fragility and poise. Boomarm Nation is thrilled to present this re-press of his debut release in a limited run of 500 black vinyl records housed in clear heavyweight poly vinyl sleeve. Each copy ships with a full color sticker designed by Polygon Press, and a download code. Originally released in the summer of 2013, El Mahdy Jr.'s debut LP The Spirit of Fucked Up Places was met with great acclaim; features in The Wire, Fact Magazine, and others soon followed. The first pressing sold out within weeks, and since then El Mahdy Jr. has seen a string of releases for Boomarm Nation, Mala's Deep Medi, Zam Zam Sounds, and Danse Noir."
Delsin presents a reissue of Netherlands-based Boris Bunnik's first full-length album, Machine Conspiracy, originally released on the now-defunct Meanwhile label in 2010. Machine Conspiracy came a few years after Conforce had first emerged and is a magnificent dub, techno, and electro opus that makes for a complete listen from start to finish as well as offering up some key dancefloor tracks. Showcasing the skills that have since made Conforce a household name in underground circles, the album is full of analogue invention, seriously moody atmospheres, and nonstandard textures, patterns, and feelings.
Swedish hypno-rok experimentalists, The Skull Defekts, make a perfect addition to the Diagonal roster with the psycho-glam swagger of Street Metal, their follow-up to Dances in Dreams of the Known Unknown for Thrill Jockey. Comprising five tracks, including two extended dancefloor hypnotizers, Street Metal captures the mercurial unit of Joachim Nordwall (vocals, guitar, oscillator), Jean-Louis Huhta (percussion, electronics), Daniel Higgs (ghost catcher), Daniel Fagerström (vocals, guitar, synthesizer) and Henrik Rylander (drums, feedback) in a taut flux of psychedelic rock and avant-techno with raids on arcane pop and percussive, tribal minimalism. Their instrumental "Mission" opens the account with a gritted psych rock stance, all muscular guitar fire and churning, locked drums that would make Goat blush, before "Mammal Combination" buckles down to a bestial, thumping glam stare-down, replete with icily-poised vocals. However, SD really come into their own with "Holy Drums," and its dreadnaught dub, galvanizing current trends for "authentic" psych swag with a crisper, more disciplined approach to rhythm, yoking scything, cyclical riffs to metallic drums for some 20 minutes of grindingly sexy, hip- wise momentum in two parts. "Saturday Mourning" seals the session with a driving, droning dirge, consolidating Bolan-esque sleaze vocals with persistent drums and piercing synths right out of a Goblin soundtrack. It's all a damn fine reminder of Diagonal's wayward, unimpeachable tastes and finds ideal context amongst the likes of Powell, $hit & $hine, Blood Music and Bronze Teeth. Features sick spotgloss artwork by Guy Featherstone.
LP version. Includes download code plus a postcard set featuring photos of the band.
The aptly named My Ghost Comes Back witnesses the return of Tujiko Noriko after a hiatus, exploring worlds beyond those we regularly inhabit. The results of these travels provided the formula for this, her most accomplished record to date. As rich in ambition as it is skewered in its melodic stance, My Ghost Comes Back is a decidedly more acoustic affair in which a host of guest musicians incorporate mandolin, viola, musical saw, optigan and other such wares into the exotic environment where her unique songwriting now resides. Furthering an exploration of unorthodox arrangements, rhythm and melody, Noriko concocts engaging pop explosions where flickering electronics, staggered rhythms, and shimmering vocals all dance on a plateau of melancholic ecstasy. "My Heart Isn't Only Mine" launches proceedings as a slow-burning landscape of electronics, organ and subdued vocal arrangements which unfold over 14+ minutes, delicately setting the scene for a new kind of record. "Give Me Your Hands" and "Minty You" exude a joyous warmth as pop perfection extends into the ether. "Through the Rain" is a deeply-moving example of just how far Tujiko's craft has evolved with its repetitive keyboard line, melodic development and a striking, ecstatic chorus. Having spent time to refine her means of traversing the line between pop and experimentation, My Ghost Comes Back presents itself as an ecstatic experience. One which encourages repeated listens as a means of unravelling the subtle sonic tapestry within.
Originally released in 1980, Jon Hassell and Brian Eno's collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as "ambient music" but it also facilitated the introduction of Hassell's "future primitive" trumpet stylings and visionary "Fourth World" musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno's ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell's "Fourth World" concept is apparent not only in the marketplace genre "World Music" but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell's experiments with a "Fourth World" musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell's debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell's performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute "Charm (Over 'Burundi Cloud')" was a carryover from Hassell's concert repertoire. Hassell has made it clear in several interviews over the years that the album's shared billing was at least partly inaccurate and that Eno's contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno's records and more drone-based, reflective and sonorous than most of Hassell's outings, Possible Musics -- whatever the actual division of labor in sound and concept -- is a seminal highlight in both of their discographies. A meeting of two of the late 20th century's most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell's musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. "Fourth World" strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.
Complete recordings (1969-1974) of legendary U.S. acid-punk band Unsettled Society, famous for appearing on the seminal psych compilation Endless Journey back in the '80s. But Unsettled Society have been a total mystery until now. The band came from the New York suburbs and were famous locally for their powerful stage shows, full of strobe and psychedelic flashing lights. In 1969 they released their first 45 for the Charm label: "17 Diamond Studded Cadillacs," which is pure acid-psych, lo-fi basement insanity. It was coupled with "Passion Seeds," a killer moody, atmospheric psych ballad. Between 1972 and 1974 they released two more 45s in a fantastic heavy psych vein, the last one recorded under the Thunder Head name. All of them are included here with sound taken from the original tapes. Includes a fold-out insert with lots of amazing unseen photos and detailed liner notes by Charm Records boss Pete Huntley.
New Recordings from Siaya County, Kenya: Ogoya Nengo and the Dodo Women's Group
Gatefold 2x10" version. Open-hearted, fresh, lovely, bumptious recordings of women's singing, from a village in southwest Kenya. "Dodo" is a type of traditional Luo music mostly used for entertainment at weddings, drinking parties and wrestling festivals. Songs in praise of the happy couple, the hardest drinkers, and the best wrestlers. Ogoya Nengo was born in 1943. Her vocal abilities were discovered when she was herding cattle, as she never attended school, though nowadays her professional name signals both the Magoya clan of her birth and the fees she commands -- "nengo" meaning "price" in Luo -- as the most expensive Dodo performer on the circuit.
The Greg Foat Group are currently the resident band at the Playboy Club, located in Mayfair, London. Earlier in 2014, a couple of nights were recorded for Jazzman, and the results are here for all to enjoy. Recorded live and direct onto 1" analog tape, the album captures the energy and atmosphere of the group at their regular gig. Awash with library-esque soundtrack-themed jazz grooves with a modal edge, jazz has never been so much fun! This is the third album by the Greg Foat Group on Jazzman, and is the first album to be recorded live at the Playboy Club in over 40 years.
Barnt: Born in the '70s, kid of the '90s. When his classmates were into grunge, he was exploring techno, when the same classmates discovered techno, he was already taking a closer look into hip-hop (battling in the nationwide DMC and ITF championships), when everyone went to Berlin to celebrate minimal, he was on a trip back in time to inhale early German electronic and rock music -- attracted by the main oppositional poles of this era: accuracy and free rein. Mainly these biographical key points and his (now over two decades spanning) DJ experience are the base for his formula of pathos, calculated dilettantism, and dancefloor functionality that characterize all his productions. Take the infamous "Geffen," or his earlier work with Cologne Tape on the EP Render, the first release on his own conceptual imprint Magazine, which he co-runs with Crato and Jens-Uwe Beyer. Render and his debut solo EP What Is a Number, That a Man May Know It? became instant underground hits in 2010 and the records have been precious collector's items ever since. At that time he was already an established part of the music scene in Cologne, the city where he finished first his Biology and subsequently his Art studies (carving out the two poles "accuracy" and "free rein" in his development again). He still lives in the fruitful atmosphere of Cologne and from here he further evolves his idiosyncratic style, which has already brought him from Robert Johnson to Trouw, from Montreux Jazz Festival to MUTEK Mexico, from Berghain to Burning Man.
Geneva-based trio Sinner DC return with an all-new remix album, featuring 12 new versions and four interludes from their 2012 LP Future That Never Happened. Far from being a patchwork collection of remixes, The Ambient Mixes is a brand-new album; an 80-minute cinematic trip following the tradition of ambient/chillout albums in the vein of The Orb, Le Coeur, and KLF. Dropping on Mental Groove Records, home of Luciano and Miss Kittin & The Hacker among others, The Ambient Mixes comes as Sinner DC have just finished their album MAPS -- a collaboration with Pete Kember aka Sonic Boom, founding member of legendary alternative neo-psychedelic rock band Spacemen 3. Having been a key influence on the likes of My Bloody Valentine and the producer for MGMT and Panda Bear, Sonic Boom's involvement marks another milestone for Sinner DC. Remix artists include: Zwei Kreise, Miruga, Sphontix, Sonic Boom, Ghostape, Devecly Bitte, Pedro Magina, Bigeneric, Lungwah, Velveljin, and Colony.
Using a play on the Icelandic words for "suburbs" and "introvert" for its title, Innhverfi is the debut solo album from Sigur Ros' and Jonsi's touring keyboard player/percussionist Obo -- in his passport it says Ólafur Björn Ólafsson -- and although comprised of no more than seven compositions, it does run the gamut of suburban bliss turned upside-down: After the LP's minimalistic opener "Uthverfi," a track that melancholically opens up after a long, immensely dark and brooding intro, that ultimately offers some respite in the form of playful glockenspiel over layers of slow-moving sonic lava, the equally cinematic "Svartur galdur" leaves much room for Obo's trademark baritone: like a bespectacled puppeteer with fluffy hair, he seems to shuffle and rearrange home-recorded bits and lullaby-like DIY pieces in front of our very eyes, which can't help but follow, as we move deeper into the somewhat forlorn suburban landscape that has inspired this record. Imagine dark, wet streets, overcast little alleys, and suddenly a cat or a candle on a windowsill, breathing slowly. Elsewhere, "Gjallarhornin" -- all spoken words, piano, strings, vibraphone, rearranged like a whirlwind in slow-motion -- makes way for a hopeful oomph deferred and silent-movie era melodies, while "Stilla," an instrumental, commences like early Efterklang, but there's no gaudiness on the horizon: When the subtle electronics and percussions erupt in the end, it all feels just right -- if only for a brief moment. Finally, the subdued birdsong and jazz-inspired piano of "Fyrirbodi" underline that Ólafsson has worked on motion picture soundtracks in the past, and before it all ends, he even throws in a foot-stompin' alt-pop song of sorts. The last stop on this journey into the haunting underbelly of the suburban mind is "Gullregn": a creaking door that opens to unveil his own garden of forking paths, a place where one can still decide, shake things up, jump the fence and run, leave before it's too late. It's pure possibility, presented in a golden light. Although Innhverfi is his debut effort as a solo artist, Obo's musical handwriting has been all over the Icelandic map in recent years: A multi-instrumentalist and a wizard on percussions, he studied piano and later composition in various European cities and has performed and recorded with artists such as Sigur Ros, Jonsi, Emiliana Torrini, Storsveit Nix Noltes, slowblow, Benni Hemm Hemm, múm, Johann Johannsson, Ulfur Hansson and Valgeir Sigurdsson, to name a few. Though few will be able to understand the lyrics in his native Icelandic, one thing is certain: Innhverfi is the very antidote to the affliction and troubles it sketches out.
This is the brand-new ambient and beyond album by Hamburg DJ/producer Lawrence, dedicated to his long-lasting relation with Toshiya Kawasaki, man of action behind labels like Mule Musiq, Endless Flight and Mule Electronic, and the artist Stefan Marx. Besides co-running the label Dial and the Mathew Gallery in Berlin, Lawrence is constantly releasing music on his own labels and befriended platforms like Smallville Records. Furthermore, he regularly contributes to Kawasaki's imprints Mule Musiq and Electronic. The music he shares on his latest album isn't linked to a special place or event. He mostly produced it on his DJ trips around the globe, including Toshiya's homeland, Japan. Back in his cozy backyard studio in Hamburg, he finished all the pieces and mixed them down with a lot of joy. In terms of style, this album is ambient and opens the genre wide open with its very own musical and emotive language. A track like "Nowhere Is a Place" spreads smoothly-twisted spectral vibes with blurring sounds that could easily originate from alienated instruments like a damaru or a conch horn. Sometimes soft, sizzling noise slides under gentle, balanced ambient air, as in the track "The Visit." In other arrangements, he lets the chords dance with cute, smacking electronic glimpses or odd, slow-motion melodies, reminiscent of the work of Hans-Joachim Roedelius and his love for the gentle swing. For Lawrence, this album is "a triple buddy record," as not only is his emotional content included in the finished product, but also his friends, Stefan Marx -- who is in charge of the artwork -- and Mule Musiq-head Toshiya Kawasaki, who was also profoundly involved in the outcome. The genesis of A Day in the Life resides in its emotional content -- it is a weightless one where all feelings are stored supremely in what you can hear, see, and hold in your hand.
Aimer Et Perdre: To Love & To Lose: Songs, 1917-1934 3LP BOX
Transform EP (Limited Edition) 12"
13th May 1981, Atlanta Civic Hall, GA 2CD
Lifestylez Ov Da Poor & Dangerous 2LP
Slot Machine Music PIC. DISC
A Genuine Tong Funeral LP
Music from the Tudorfest: San Francisco Tape Music Center, 1964 3CD
A River Rose: Music for Violin CD
Complete String Quartets 2CD
Life is Endless like our Field of Vision CD
Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985 2CD
Sacred Bordello Book w/CD