Edition of 400 copies. Includes original photos from the recording sessions. High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, Charlemagne Palestine's "HellsBells" became the sonic mainstay of 53rd Street and 5th Avenue, NYC, from 1963 to 1970. In 1963, while attending The High School of Music & Art in New York, the 15-year-old Palestine was asked if he'd be interested in playing a 26-bell carillon at the St. Thomas Episcopal Church. He decided that he loved the voluptuous Taylor bells, and played them every day from 1963 to 1970, when he left New York to study and teach at CalArts. During his time above 53rd and 5th, Palestine became known as the Quasimodo of midtown NYC, and his dissonant and "klanggdedangggebannggg" style of playing attracted a diverse group of fans, from Moondog to John Cage to Tony Conrad, among others. Palestine was able to continue playing his clanging-bell soap operas for seven years, dinggdonggingggg every late afternoon and Sunday mornings. This LP collects some of the most relevant recordings from those early days. Side A presents the complete reel-tape "Bells Studies," an intense, pulsating work in five movements. It begins with slow, hypnotic, large sonorities and accelerates into more dense and maximal explosions. Side B collects some shorter studies: "Bells," the two parts of "Confiscated Bell Tape," and an excerpt from "Dumb Bell Tape." Each track was recorded by the composer in single takes around 1965 and unheard since, until now.
Originally composed between 1981 and 1984 and initially appeared only on tape in two different editions, the proposed material from Ariel Kalma for this work confirms his pantheistic vision of the ethnic sound that had already emerged in 1978 with the masterpiece Osmose (BS 007LP). The deep consciousness of the compositional techniques of Indian ragas is mixed here with embroidered electronic textures on which flute and sax explore the most secret archetypal elements of nature. In this way Kalma offers to the listener a personal idea of sacred music with luminous and oneiric tones but always dialoguing with a higher cosmic conception of things. With a clever use of effects, harmonium, delays and exotic percussions, Kalma becomes the creator of soundscapes from the endless myriad shades. Such a fusion of Western avant-garde and eastern tradition approaches other big names of the international panorama such as Popol Vuh, Angus MacLise or László Hortobágyi. The master comes from the original 1/4'' analog tape from the '80s. Limited edition of 300 copies in a gatefold cover with info.
1. (Electrical Engineering) the stationary part of a rotary machine or device, esp of a motor or generator
2. (Aeronautics) a system of nonrotating radially arranged parts within a rotating assembly, esp the fixed blades of an axial flow compressor in a gas turbine
[C20: from Latin: one who stands (by), from stāre to stand]
Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his "ambient techno" and "arctic ambient" styles and his use of loops and peculiar samples from sci-fi sources. His 1997 album Substrata is generally seen as one of the all-time classic ambient albums. Deathprod is a pseudonym used by Norwegian artist Helge Sten. Sten began creating music under this name in 1991, and in 2004 a self-titled retrospective box set collecting most of his recorded work was released. Sten uses homemade electronics, old tape echo machines, ring modulators, filters, theremins, samplers, and other devices to craft his sound. Jenssen and Sten previously collaborated on Nordheim Transformed (RCD 2005CD), a 1998 collection of reworked Arne Nordheim compositions. Stator is a split release, with three tracks by Jenssen and four by Sten. Mastered by Sten at Audio Virus Lab, Oslo. Commissioned by Tape to Zero. LP includes full-color insert card by Jon Wozencroft.
Originally self-released in 1995 on 100 cassettes, Swearing At Motorists' long out-of-print self-titled debut album is now reissued by A Recordings. Recorded in 1994 on equipment borrowed from roommates Brainiac, this 17-minute lo-fi gem was Dave Doughman's first experiment with songwriting and home recording. The reissue serves as insightful glimpse into the beginnings of the band, whose album While Laughing, The Joker Tells the Truth (AUK 113CD/LP) was released in 2014. Swearing At Motorists have come a long way since their birth on a poster for a fake band in 1994. A few months after the posters mysteriously appeared in record stores and music venues around Dayton, OH, Doughman jokingly scrawled the name on a cassette of home recordings that he gave to friends, and the band was officially born, joining already established Dayton bands Guided By Voices, Brainiac, and The Breeders in releasing music made in the Miami Valley. The late '90s found S@M releasing a slew of 7" EPs on different labels, and after getting repeated plays from the BBC's John Peel and favorable press worldwide, the band landed a contract with Secretly Canadian, with which they released two EPs and four LPs, including 2000's Number Seven Uptown and 2002's This Flag Signals Goodbye, both of which were named MOJO's "Underground Album of the Year" for their respective years. This reissue precedes the band's 2015 appearance at South By Southwest, where they will also play several day parties, including their own, the second annual All Tomorrow's Tacos (a mix of bands and stand-up comics). Swearing At Motorists: 20 years and two million miles under the radar. LP pressed on 180-gram vinyl.
LP version. On a Business Trip to London is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated P.E., limp-wristed ornamental industrial, sickly minimal synth, and cheap suntanned trollop techno. What's more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck's piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, On a Business Trip to London is a highly accessible and often disarmingly pretty work that will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power, and dominance. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.
Tokyo-based all-female instrumental trio Nisennenmondai formed in the late '90s and took their name from the Japanese translation of the then-current phrase "Y2K bug." Nisennenmondai - Live At Clouds Hill features live versions of songs from the band's acclaimed 2014 album N (PTYT 083CD) recorded by Johann Scheerer (producer for Gallon Drunk, Bosnian Rainbows). This recording is part of Scheerer's Live At Clouds Hill series, and follows his practice of inviting the band to perform in front of a small audience in his Hamburg studio, Clouds Hill Recordings, for a maximum of 64 minutes -- exactly the length of two analog tapes. Scheerer recorded and mixed the performance live, and straightaway sent off for mastering and vinyl manufacturing. This process forces Scheerer, the performers, and the audience to focus on the unique present moment, as the final outcome is irreversible. Purchase of the album grants access to exclusive video footage of the recording session through play.clouds-hill.com.
The first volume in Glitterbeat's Hidden Musics, a series of unmediated field recordings of lesser-known global music traditions. War Is a Wound, Peace Is a Scar is a haunting audio document recorded in the summer of 2014 by Grammy-award winning producer Ian Brennan (Tinariwen, Malawi Mouse Boys, The Good Ones). The sepia-tinged songs are sung and played live and direct by elderly Vietnamese musicians using half-forgotten traditional instruments. These musicians all have deep, personal connections to the upheavals of the Vietnam War; the recordings' mesmerizing mood navigates the blurred line between raw beauty and sadness. An album of cautious healing and an unforgettable meditation on conflict, resistance, collective memory, and the longing for what has been lost. Brennan recalls the recording process for this remarkable document in the album's liner notes, excerpted here: "We had gone to Hanoi to record veterans from their side. Some were music masters, one of whom had joined the army at age thirteen and whose job it was to sing to the troops to boost morale and provide solace. Another was a former AK-47 issued village leader who had not sung in over forty years, and proved to be the most dead-on vocally. She did not hide or adorn, but quietly revealed muted emotions that a microphone often can detect more easily than face-to-face interaction. Then, immediately afterwards, she withdrew back into a stoic shell... With a whammy-bar technology that dates back to the ninth century, it is fair to say that Vietnamese traditions had a bit of a head start over the headbangers of the 1980s. A startling revelation was a plucked instrument (the k'ni) that is clasped between the teeth as the local dialect... is spoken through the
single string. What sounds like an extraterrestrial instrumental to the uninitiated actually contains coded, poetic lyrics... Let it suffice to say that these artists are a far cry from the lip-synching karaoke show that we saw on the local cable, with groups of teenagers cavorting on a soundstage and mouthing the words to K-pop songs -- air-karaoke, if you will -- that managed to render something pre-fab even less real. These elders carry a haunting, but muted sadness that seems only fully revealed through the music that they valiantly keep alive in the face of industrialization, waning regard and interest, and the rapid homogenization and 'progress' overtaking their homeland."
If you're continuously searching the margins for lost artifacts of the pop pantheon, you can find your daily dose in late period exponents of pure, lean, Beatlesque power pop band Promise. Originally issued in 1980 on the Boulder, Colorado, area band's own Cumulus label, their eponymous debut is filled with melodic, beatific blasts of pure pop, replete with ringing, jangly guitars and rollicking crunch. Co-led by singer-songwriters and guitarists Curt Mangan and Danny Mey -- with aid provided by the just-right rhythms of bassist Randy Jones and drummer Gary York -- the group created an album with precious little allying it to the punk-inspired power pop or prescient new wave of the time, instead choosing to hone in on a classicist pop sound highly indebted to those famous moptops from Liverpool. Abetted by the fact that some of the group's members had been playing together since their teenage combos of the mid '60s, the album carries an out-of-time flair across surging rockers and mournful balladry. Got Kinda Lost Records is ecstatic to give this benchmark of privately pressed power pop another chance to shine with this first ever reissue. Includes exhaustive liner notes by Jeremy Cargill (Ugly Things Magazine) culled from interviews with Mangan and Mey. RIYL: Badfinger, Big Star, early Cheap Trick, Emitt Rhodes, The Raspberries, Liverpool Echo, The Scruffs, Shoes, Dwight Twilley Band, etc.
Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque and orchestral pop, and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice while his words combine his personal experiences, neuroses, and fantasies through many layers of abstraction, poeticism, and dark humor. While the deft acoustic guitar fingerpicking of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute, and pedal steel guitar and feature contributions from Simon Scott (Slowdive), Annie Nilsson, and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom Blackshaw duets in Japanese on one song). LP pressed in a first edition of 500 copies.
Following the international success of his acclaimed 2013 debut album Drone Logic (BEC 5161626/5161627), Daniel Avery expands his wide-reaching world with a carefully curated collection of remixes from the artists with whom his forward-facing electronic style shares the deepest affinity. Inviting each producer to either complement, reconstruct, or occasionally rebuild his original compositions, New Energy stands as a testament to the strength of the current state of affairs in electronic music, borne out of one of its most original talents. Includes remixes by Gabe Gurnsey, Roman Flügel, Volte-Face, Ø [Phase], Silent Servant, Matt Walsh, Kink, Beyond the Wizard's Sleeve, Rødhåd, Audion, Perc, Ricardo Tobar, Conforce, Powell, Special Request, and Danny Daze.
Rubble presents a deluxe five-disc box set comprising of all four original volumes of the highly revered Psychedelia compilation series originally issued in limited quantities by Tiny Alice Records in the early '90s. Disc five is the previously unreleased volume originally intended as the last in the series. An herbal mixture of psychedelic remedies and freakbeat fantoms collected together for your listening pleasure. Ultimately rare and genuinely obscure sounds recorded around the world between 1966 and 1974, with a particular eye on the hidden rumblings of British psychedelia. Spans the psychedelic period with ultra-rare and previously un-compiled nuggets from Enough's Enough, Wheels of Time, Virgin Sleep, Mandrake, Now, The Scene, The Factory, The Difference, Autumn, Mooche, Blue Effect, No to Co, and many others. A musical hocus pocus with 67 blasts of psychedelic artifacts and freakbeat enigmas. Fully remastered; includes 32-page full-color booklet with expanded liner notes, detailed biographies, full discographies, and a plethora of rare and original photos and memorabilia not originally available in the vinyl series. Also includes tracks by David, The Matadors, Alan Avon and the Toyshop, Svensk, The Jackpots, Junior's Eyes, State of Micky and Tommy, The Bluejeans, Cape Kennedy Construction Company, Giorgio and Marco's Men, The Hi-Fi's, The Gibsons, Kinetic, Glass Opening, Freedom, Edwick Rumbold, Executives, John Carter and Russ Alquist, Favourite Sons, The Tangerine, Motivation, Tickle, Kirkbys, Anteeks, Kippington Lodge, The Fire, Wayne Faro's Schmaltz Band, Steerpike, Smoke, Orange Machine, The Barrier, Ron Grainer Orchestra, Jigsaw, Team Dokus, Tales of Justine, Nimrod, White Trash, Flames, Nashville Teens, The Mirage, George Bean, The Majority, Esperanto, 1984, Electric Food, Henry Schifter, Harsh Reality, LA, and Shere Khan.
Sintetizzatrice is the first recorded document of the collaboration between veteran DJ and producer Donato Dozzy and female vocalist Anna Caragnano. Through his solo work, and in his collaboration with Giuseppe Tilleci (Neel) as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen since the turn of this century. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak with Sintetizzatrice. Over nine tracks, Dozzy works exclusively with the voice of Rome-based vocalist Anna Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph from R&B to kosmische, through traditional Italian folk music, to Fluxus styles and traditional chamber choir with no additional instrumentation. Just a singular, beautiful voice. The results are simply phenomenal. With the opening, "Introduzione," an immeasurable cosmic weight arrives and remains through the duration of the album. "Star Cloud" ascends with melancholy extended drones that evaporate concepts like time and being, rendering basic human perceptions void all the way through "Parallelo." "Parola" dances around the stereo field with dazing rhythms and melodies, while "Festa (A Mottola)" is an homage to the traditional music found in the rural region where, coincidentally, both Dozzy's mother and Caragnano were born and raised. The album's closing pieces "Love Without Sound" and "Conclusione" hit hard in a way to which no words can do justice. By fearlessly entering uncharted territories, Dozzy and Caragnano have made a collaboration which is truly experimental. Sintetizzatrice is a grand debut for Anna Caragnano and a fantastic twist for Donato Dozzy. Produced and mixed by Dozzy at Alaska Studio, Rome, in 2014. Mastered by Giuseppe Tilleci at EnissLab Studio, Rome. Transferred to tape by Pietro Micioni, Angelo Compagnoni, and Massimo Zuccaroli at Village Studio, Rome. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Front cover painting by Angela Scaramuzzi. Cover design by Koto Hirai.
LP version. Pressed on 180-gram vinyl. Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Dorau's live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his father's releases.
Cadenza's 100th release comes, aptly, from label boss Luciano. Reviving his Lucien-n-Luciano moniker for the occasion, he delivers "Grace of an Art," a Herculean piece of rubbery tech-funk, with intricate sound design over its steady and assured mechanical beat. On "Rickson Trephala," a flexible bassline wraps itself around a minimal, energetic beat, chock-full of abstract sounds and glitches. Bonus CD includes the grandiose 60-minute "Timeless Song for Lovers of the Morning Enlightenment," echoing the ideas of sound experimentalists such as Global Communication, but very much with Luciano's stamp, filled with sad pianos and wandering percussion and soaked in dubby reverb.
"Four-song EP by Broken English Club. After the strong reception of the Violence and Divinity split with Silent Servant as well as his solo EP for Jealous God, here Oliver Ho (also known for his Raudive alias) continues in a similar vein, delivering sparse vocals and shards of live instrumentation over heavy, stuttering beats and bleak synths. The tracks on this EP are rich and darkly atmospheric, pulsating loudly through a smog-filled dance floor. A subversive spin on dance music, the blank-stared, pin-point-focused electronics and layers of noise betray no/wave and post-punk influences, dragging together industrial experimentation and pitch-black techno. Artwork designed by Veronica Vasicka and sourced from the archives of Silent Servant, the Broken English Scars EP features a one-of-a-kind vinyl pressing of white inside clear -- limited to 999 copies and housed in a matte printed sleeve."
Ecstatic presents an expanded reissue of Italian mail artist Daniele Ciullini's 1983 self-released cassette Domestic Exile. Hailing from Florence, Ciullini was part of the forward-thinking TRAX collective and its pan-European art and music collaboration network. When asked about the title, Domestic Exile, Ciullini explains, "The music in this cassette was born in a very difficult period of my life. A period marked by a rift with the world. 'Domestic Exile' reflects a time of recession, entrenchment within the walls of a tired soul. Most of the songs are improvised on the spot. Listening to the music today I think this aspect was perhaps naïve. But I enjoyed realizing something very close to my inner state at that moment." Ciullini's music is as sharp and controlled as his elegant photographic images of decadent marble statues, mannequins, and deserted Art Nouveau architecture. The B-side of this reissue consists of tracks originally released on compilations between 1982 and '86, some of which Cuillini describes as "sonic polaroids" in which synthetic sketches and keyboard voices sit side by side with vigorous electro-industrial rhythms and metronomic modified drum machine pulses. His music presciently fuses ambient and industrial, and echoes the synthetic alienation of 8-bit micromusic, the melodic wave sounds of Young Marble Giants, and even proto-shoegaze guitar ("Soft Marble"), as well as hints of drone music (the magmatic loops of "Bloody Machine"). Made with Boss DR-55 and Roland TR-606 drum machines, EMS Synthi AKS modular synthesizer, Roland TB-303 bass synthesizer, Yamaha CS-5 and Casio VL-1 synthesizers, Teac A-103 tape deck, Akai 4000-DS MK-II reel-to-reel tape machine, Fender Stratocaster electric guitar, and Pioneer MA-62 mixer. For fans of Chris Carter, Merzbow, Suicide, Minimal Wave, Cabaret Voltaire, Mika Vainio, Tasaday, and Nurse With Wound. This edition includes extensive liner notes by Vittore Baroni, TRAX co-founder, musician, journalist, and active figure in mail art circles. Mastered by Not Waving.
One can only see clearly with the heart. Essence is invisible to the naked eye. Clash of the Titans: two south-hessian music biz legends teamed up in '95, long before they had the slightest idea of what life would have in store for them. Unreleased, mysterious, rough, and old-school rave adventures... These are the original tracks taken from a dusty and long-forgotten DAT. Remastered by Lopazz in 2015.
2015 repress. Once again, Finders Keepers Records is given unparalleled access to the EMI Pakistan vaults to bring you Life Is Dance, the 2011 follow-up to 2010's critically acclaimed groundbreaking Lollywood cinematic pop compendium The Sound of Wonder! (BMS 012CD). Commonly, ignorantly, but understandably lumped in with its wealthy not-too-distant cousin, Bollywood, Lollywood was inspired by, but often overshadowed by its posh and well-travelled relative. Following the simplistic Bombay + Hollywood = Bollywood name game (that would in later years spawn Nollywood in Nigeria), Lollywood's Lahore, Pakistan-based film industry was a profitable and vibrant one that found great success in the modest boundaries of its own country but was seldom savored outside Pakistan. However, the hugely important musical business spawned a byproduct that was viewed as a potential earner for international entertainment industry, EMI, which allowed talented musicians to create ambitious music with world-class media ranging throughout the '60s and '70s from fuzz guitars to space echo machines and American and European synthesizers, but, due to the composers' indigenous roots, rarely a drum kit. Here you'll find fuzzy, scuzzy, twang-happy, spaced-out, and funked-up Urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger-numbing percussion that the South East Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound RAW! The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern pop music. So, it's time to meet the culprits -- as an introduction, in place of R. D. Burman and Asha Bhosle, we have Mr. M. Ashraf and his long-term female collaborator, Naheed Akhtar. This duo would provide Pakistan with its Gainsbourg/Birkin or Morricone/Dell'Orso for over 20 years, recording squillions of cut-and-paste sonic collages and moog-fuelled desperate love/hate/chase/chill/kill songs mixing onomatopoeic Urdu lyrics with unexpected bursts of user-friendly English language and the odd motif from a Barry White or Donna Summer hit. We also have legends like Noor Jehan, a national treasure and household name in Pakistan whose discography of film songs have deprived the vaults of EMI Pakistan of floor space for half a century. Also includes tracks by Tafo, Mehdi Hassan, A. Nayyar, Nazir Ali, Mehnaz, Kamel Ahmed, Sohail Rana, Abdul Hameed, Afshan, and Cheeku. All tracks licensed exclusively through the EMI Pakistan vaults in Lahore and remastered from the original reels.
Il serpente nel cielo is the first of three Squadra Omega titles to be released in less than six months in 2015. This two-piece jam was recorded live at Outside Inside Studio, with the always-evolving group reduced to three core elements: OmegaFrank (drums, xylophone), OmegaG8 (synth, bass), and OmegaMatt (sax, acoustic and electroacoustic percussion). The trio hauls its instruments through a free-form improv-ambient session frequently peaking with moments of free jazz, sustained by a skeleton of intense droning electronics, and wonderfully rendered by an exquisite cut made at SST in Frankfurt. Cover artwork by Re delle Aringhe.
2015 repress. Produced slowly and meticulously, these seven tracks by Manchester's Andy Stott take influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era. These seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro "Signature," "New Ground" heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. "North To South" starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. "Intermittent" is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before "Dark Details" delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. "Execution" and "Passed Me By" end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company. Mastered and cut at Dubpates & Mastering, Berlin.
"Juju Jordash member Jordan GCZ's impeccable Off Minor imprint [releases] the four-track Shaping EP from prolific DC-based producer Maxmillion Dunbar [aka Andrew Field-Pickering]... Shaping sees the Future Times co-head dishing out four more of his slightly off-kilter dancefloor constructions, with plenty of restless synthlines, percolating percussion, and celestial pads to be heard throughout." --XLR8R
Pressed on 180-gram vinyl. Pitchfork, November 30, 2014: "Nicolas Jaar has shared a new track from Chicago ghetto house/juke veteran DJ Slugo. It's called 'Ghetto,' and it was produced by Jaar... According to Jaar, it was made 'in light of recent events.'"
2013 release. Penultimate Press presents the only known recordings by Danish artist Poul Gernes. Gernes only ever recorded just under 20 minutes of music; his entire musical production is therefore on this LP. The recording was made on a Tandberg recorder at Gernes's house in the south of Sweden in 1969 and features Gernes playing an old harmonium salvaged from a local primary school. The result is an informal quasi-drone work, which, along with the ambient sounds and domestic interference, comes across as a snapshot of the recording itself, a sonic Polaroid. The voice of a child, Gernes's daughter Ulrikka, is heard making small remarks and pointing out when the needle enters the red. This audial domestic background is too included as an incidental yet natural part of the work, as Gernes saw no limit between art and life. Gernes (1925-1996) was one of the central figures in Danish art life during the latter half of the 20th century. His experimental art holds a firm place on an international level and as one of the founders of the legendary Den Eksperimenterende Kunstskole (The Experimenting Art School) he exerted considerable influence on a whole generation of artists who make up the Danish post-war avant garde. His wide-ranging body of work remains a source of inspiration for younger generations of artists in Denmark and abroad. This recording was initiated by John Hunov, who was the chairman of Ung Dansk Kunst (Young Danish Art), an association dedicated to the presentation and publication of many Danish artists of the period. Gernes's major musical inspirations at the time were J.S. Bach, Terry Riley, and Gregorian chant. An alleged encounter with John Cage and close collaborations with, for instance, composer and Fluxus artist Henning Christiansen are likely to have encouraged the musical endeavor. During the 1960s Gernes also made a large number of happenings and performances, together with Per Kirkeby and Joseph Beuys. Originally issued in a miniscule edition on cassette in 1969, this was reissued in 1998 as a very limited edition CDR via John Nixon's Document Records, Australia. This is the first vinyl issue of these recordings. A one-sided LP, it features a beautiful etching of a Gernes painting on the B-side and is packaged in a full-color sleeve retaining the nature of the recording itself. Also included is an insert with a list of Poul's hypothetical track titles. Limited to 400 copies.
Originally released in 1970, Czar is firmly established as one of the most sought-after progressive rock albums ever released in the UK. An intense brew of Hammond organ, Mellotron, and scorching psychedelic guitar, it's certain to appeal to fans of King Crimson, Atomic Rooster, The Nice, and Led Zeppelin. Presented here complete with eight bonus tracks and a full-color booklet (incorporating rare photographs and comprehensive sleeve-notes), this definitive reissue is simply essential for all lovers of heavy progressive psychedelia. 180-gram LP with 15-track CD and booklet.
When Disaster Strikes... 2LP
A Hero's Welcome: Pieces for Rare Occasions CD
Alan Silva & The Sound Visions Orchestra CD
New World Pygmies Vol 2 2CD
John Blum Astrogeny Quartet CD
Drum Dance to the Motherland CD
Voodoo Grooves Part 1 12"
Domestic Exile Collected Works 82-86 LP
Jeff Ozdemir & Friends CD
Jeff Ozdemir & Friends 2LP
The Indestructible Beat of Soweto CD
Roots Rock Guitar Party CD
Future World Funk Presents Desi Nation CD
Smoke Stained Ivories 12"
Dai Primitivi All' Elettronica LP
On a Business Trip to London LP
Small Town Illusion/Poison Butterfly 7"
5-Track Extended Play 12"
Double Take - Tala Kaka CD
Cover you will softer me LP
Shplittin' the Shtones 12"
Secret Lounge 4: The Finest in Chill Out and Ambient Music 2CD
Privacy Issues (Droneworks 1996-2009) 3CD
Carousel Ballroom 14-02-68 CD
The Animation of Lists and the Archytan Transpositions 2CD
Five Sound Installations DVD-ROM
They Could Have Been Bigger Than the Beatles LP
New Energy (Collected Remixes) 2CD
Nisennenmondai - Live At Clouds Hill CD
War Is a Wound, Peace Is a Scar CD
Spaces Oddities: 1975-1979 CD
Linien aus Nachtlicht - Organ Works CD
Felt Forum, NYC 18-03-73 3CD
Live at The Rocking Horse Saloon, Hartford Connecticut January 13th 1985 2CD
Hecker Leckey Sound Voice Chimera LP