Bali 1928, Vol. II Tembang Kuna: Songs from an Earlier Time
The second volume in World Arbiter's five-disc series of 1928 Balinese vocal recordings continues the first release of these recordings since they were first pressed to 78 rpm discs in 1929, the only commercially released recordings of music made in Bali before World War II. Originally recorded by a team from the German labels Odeon and Beka on a 1928 expedition to Bali and intended for a Balinese public that lacked any discs of its own music, many of these records have been reduced to single remaining copies by the ravages of time -- when the labels' warehouse manager learned that the Balinese didn't own record players, he destroyed the original discs in a fit of drunken rage. Now, after a decade of global sleuthing, World Arbiter has located a surviving copy of every known vocal disc that escaped destruction, even one slumbering under a pile at an east Balinese raja's palace. The unaccompanied singing has been restored to the point that the listener is practically sitting inside the masters' throats to experience their microtonal miracles. The lyrics, fully translated from several archaic and remote tongues and included in the liner notes, reveal intensely urgent erotic and romantic meanings. These extensive notes are supplemented with a 110-page PDF, including an in-depth essay by Edward Herbst, contained on the disc and available online. Arbiter will continue to release its complete recovery of 111 three-minute sides, with five discs planned for the series, and a complete anthology to follow. Fully funded by a grant from The Mellon Foundation. Includes performances by Ida Bagus Oka Kerebuak, Ida Boda, Ni Dayu Madé Rai, Ida Bagus Ngurah, Ni Lemon, and the duo of Idu Bagus Wayan Buruan & Ida Madé Tianyar.
When The Notwist returned with their acclaimed seventh studio album Close to the Glass in early 2014, many were enchanted by the epic instrumental track "Lineri." It was the only instrumental track featured on that album, but according to Markus Acher, the band's vocalist, instrumental works had an important role in the album. Indeed, while the band's members pursued solo projects between 2008's The Devil, You + Me and 2014's Close to the Glass, The Notwist also composed instrumental works for several theater productions and radio plays, some of which are compiled here as The Messier Objects. The collection obviously brings to mind the ghosts of library music and '70s soundtracks, but can also be heard as a summary of the band's ever-evolving musical cosmos. The 17 featured pieces range from sample-based electronic collages to the buoyant post-rock of "Das Spiel ist aus." Whether the band is experimenting with modular synthesizers, analog percussion, or even horn sections ("Object 11"), there remains a constant flow of gentle grooves that makes this open-minded collection more than just a companion piece to Close to the Glass.
Samba Touré's previous album Albala (GB 004CD/LP) was recorded during the fear-laden atmosphere of 2012, when northern Mali (including his ancestral village of Diré) had succumbed to sharia law and radical Islamist control and Bamako, his adopted home, still reeled in the chaos of the recent military coup. Albala received widespread acclaim and was rightfully recognized not only as the best album of Samba's career but also as an undeniable musical statement about the human toll of war and political crisis. Samba had spent years honing his artistry (including stints playing with Malian blues master Ali Farka Touré and Kora genius Toumani Diabate) and Albala signposted a mature artist, full of sonic imagination and narrative fire. Gandadiko, the title of Samba's potent, diverse and ambitious new album, translates from his native language Songhai as: "Land of Drought" or "Burning Land." The title seems to indicate a return to the dark textures that marked Albala but in fact Gandadiko is a more complex story than that. Touré is known to search for the seeds of his musical ideas in the assorted stack of CDs he listens to while driving through the chaotic streets of Bamako. The out-of-the-box musical inspirations he has picked up for his new album range from Serge Gainsbourg to Bo Diddley via Tom Petty to funky psychedelia, though of course, all the raw material is instinctually filtered through the traditional melodies and rhythms of his Songhai musical heritage. The songs on Gandadiko are in fact framed by a restless eclecticism. Samba's guitar-playing has never been so anxious, exploratory and rock and roll and his voice has never been as smooth and relaxed.
Stunning new music from Istanbul! Wild baglama improvisation and mystical male-unison singing, atop the propulsive mass of a Berlin half-stepper, with turbulent detours into dub, radiophonics, and psychedelia. "Kime Ne" means "so what," "what's it got to do with you." The song adapts verses from the seventeenth-century poet Kul Nesîmî, wistfully invoking the Melami strain of Sufism as a touchstone of humility and tolerance in dark times. "Insanlar" means "humankind"... "The Human Beings." RV's mixes are expert, taut and hard-grooving. "2" is the more agitated and dubwise. Side D is etched with Katharina Immekus's lovely artwork.
Roland Tings is Melbourne, Australia's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12" releases for 100% SILK and Club Mod, he dropped the acclaimed Who U Love EP (INT 027EP) in the spring of 2014, in anticipation of his debut self-titled album, now presented by Internasjonal. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut in 2012 with the Milky Way EP on 100% SILK, the enigmatic dance imprint founded by Not Not Fun Records co-founder Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by those of Larry Heard and Robert Hood, Tings solidified his sound on Tomita's Basement, released in 2013 on Club Mod and featuring remixes from Maxmillion Dunbar (Future Times) and Jeremy Greenspan (Junior Boys). Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of Tim Sweeney and Juan Atkins for Modular People's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings's custom texture continues to fold into a vibrant late-night fabric, reflected in the skillful versatility of this debut album. The CD edition includes two tracks not included in the double LP version, "Venus" and "Pala."
Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."
Music of Tanzania is a spectacular collection of field recordings gathered by Laurent Jeanneau between December 1999 and March 2000. This debut volume of Sublime Frequencies' exploration of indigenous Tanzanian music compiles sacred and profane songs and dances of the Hadza, Datoga, and Makonde people. Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters. Many of these poignant, exhilarating performances come from dwindling minority groups whose way of life stretches back to the Stone Age, and who are capable of creating breathtaking music with anything from agricultural tools to tin cans and plastic tubes. Laurent Jeanneau is absolutely fearless in his pursuit of rare, exceptional and vibrant performances. He views his ongoing documentation of ethnic minority music as an act of resistance to globalization, state-sanctioned "peasant traditions," and cultural homogeneity, and accordingly spends months living under harsh and dangerous conditions in order to capture impromptu performances in their everyday cultural context. Using this method, Jeanneau has self-produced almost 100 albums preserving threatened musical traditions from some of the most remote regions on earth, in addition to compiling multiple volumes for Sublime Frequencies. This limited edition double LP tip-on gatefold package includes striking photographs by James Stephenson and detailed liner notes by Jeanneau.
Includes full-color poster. "Sadly, in 2014, we lost a dear friend and our sound engineer for almost a decade, Julia Brightly. This release is dedicated to her memory with all proceeds going to genderedintelligence.co.uk. Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper. Limited Quantities. Non-returnable. We've played a lot of shows and it's senseless to document them all but every once in a while you get the feeling that something special is happening -- and that it might only happen once. That's what it felt like when in 2011 we assembled a group of friends -- Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on Swim: Kyle Brenders, Colin Fisher, Rob Piilonen, and Steve Ward, and the four members of Caribou's regular touring band -- under the name of the Caribou Vibration Ensemble. And that's why it felt like it would be a good idea to document it. We gathered for a small tour around ATP's Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows -- one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011. Opener 'Bowls' is reinvented by combining the album version from Swim with elements from James Holden's own remix. The next track, 'Ahmed, Colin, James, Kieran, Kyle, Rob and Steve,' is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed's drum kit triggering all the synthesizer sounds coming from James's modular synthesizer. The release closes with an epic version of 'Sun.' Thanks for listening." --Dan Snaith, Caribou
Restocked; LP version. Recoiled is a rambunctious alchemy of magikal Coil sensibilities and hi-tech home circa '90s mixing technique, all fused in the cave-like early studios of Danny Hyde/Peter Christopherson. These were the unrestrained PRE-BIG studio-mix-downs of four songs which long-time Coil admirer/collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde/Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. Recoiled includes a fuller, more opulent version of the track "Closer," which eventually made it onto the opening credits of the movie SE7EN. These five lengthy compositions (just under 40 minutes) are pre-Ableton/laptop generation-type priest-song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumored to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Four of the tracks were released on the download-only Uncoiled. A bonus, previously-unheard track from the same sessions closes the album. Jhonn Balance is also manifest on this gilded constellation. Beautifully remastered.
Cold Spring is very proud to present its 200th release: Japanoise king Merzbow's Nezumimochi. The album comes as a stunning vinyl picture disc together with a CD -- neither format is available separately. Both formats contain exclusive and different tracks; the CD isn't simply a copy of the vinyl. Over 90 minutes of crunchy, intense noise, complex structures, and hypnotic samples, all with that special Merzbow touch. Recorded in the summer of 2014. Limited to 500 copies.
UK-born, raised with Czech roots, and currently working out of Berlin, Emika rose to critical acclaim through album and club releases encompassing bass, dubstep, and techno music, crossing styles and genres in her own very distinct cutting-edge pop sound. She now presents a unique and compelling record of solo piano pieces, offering an almost voyeuristic portrait of her creative process. Klavirni is an album that seeps gently into the soul without demanding unnecessary effort from the listener. It provides a personal, raw, unpolished, and captivating glimpse into the pure essence of artistic endeavor; Emika offers an intimate look into the fundamental process that lies at the core of not just this latest body of work but of the artist as an individual, recalling, "I stayed a few weeks at my parents' home in Milton Keynes in Dec13/Jan14. My favorite piano is there from my childhood, the piano that I did all my grades on. That piano has been the most important instrument in my whole life." A piano diary based on improvisation, the album can be described as "futuristic classical," with piano miniatures recorded precisely as if the listener were sitting behind the piano, and then sampled, stretched, splashed with echoes, and reversed in Emika's homemade Berlin studio. Emika Records continues on its self-chartered journey with a personal, warm, inviting, and moving record from this creatively thriving and enduring talent. CD edition includes email address from which purchasers can request a free copy of the score.
"A new Vereker side-project -- techno, rooted in noise and industrial, but spurring all three bloody and yabbering -- with an LP in the pipeline for Berceuse Heroique sister-label Kemal."
"Magma first released Félicité Thösz in 2012. Dominated by the celestial voice of Stella Vander, it was the band's first studio album since they re-formed in the early part of the century. With lyrics in French (which is not common in the band's discography) as well as Kobaïan, the language invented by Christian Vander, Félicité Thösz is a trip which will lead you from Japan to the Urals via Central Asia, with a detour to pay homage to Tamla Motown. Powerful, hypnotic, and unclassifiable, there has been absolutely nothing like Magma in the last fifty years." 180-gram vinyl. Includes download code.
Keyhole presents a triple LP edition of its double CD set Providence College, Rhode Island, April 26th 1975 (KH 9028CD). Childhood friends and fellow rock visionaries Frank Zappa and Captain Beefheart put aside their differences to tour the US together in the spring of 1975 -- Beefheart's only tour with The Mothers of Invention. The resulting shows found them both in superb form, as evidenced by this legendary 1975 set, preserved in superb fidelity. This edition is pressed on 180-gram vinyl, features remastered sound, and includes an insert with background notes and photos.
WBUF FM Broadcast, Buffalo, NY, February 8th 1979
This outstanding performance by The Ramones was taped for radio broadcast in Buffalo, New York, on February 8, 1979, shortly after Marky Ramone joined the band. It captures New York's punk pioneers at the peak of their powers, tearing through many of their most renowned songs in typically energetic style. It's presented here in superb fidelity, with background notes and rare photos. Digitally remastered.
Lucky number seven -- the best Testpressing yet from Demdike Stare and the final installment for the time being. "Rathe" opens the doors of perception to a show-stopping bloom of heavenly voices and half-step jungle, ratcheting the levels to heart-in-mouth effect with panoramic harmonies and ricochet drums that sound like a 2015 update of "Windowlicker," all owing as much to Source Direct as Alice Coltrane. "Patchwork" is a whole other madness. Shocking in a different style, it consolidates swirling, noirish samples nodding to Italian concrète with the kind of two-step swerve heard on Artwork's Red EP -- proper feral, swinging business.
"Yikes! This is not a record: it's a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking/PHD-styled lessons in underground experimental extravagance par excellence. Yuzuru Agi's Vanity label delivers the same spinal-tingle-stun-upon-utterance with the same sting as heavyweight/uber strange underground labels like Artifacts, Silver Key, Yetti Wordless, Palace of Lights, Plat-Num Productions, or the gem of Florida's rotten improv scene Spitball Records. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the 'Rock Magazine' and coining the words 'Techno Pop' -- the addictive & lustful Agi's Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. Reissues are scarce -- the 'boot' of the second Tolerance LP from a couple years ago came and went w/o much of a ceremony -- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it. What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar no wave-ish (scratch that lets say the more equivalent to Japan's own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-esque experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid-dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Order's Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause 'I WANNA BE A HOMICIDE too@!!') harrowing away in a distant concrete slab. Might as well have Murakami's crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the 'sweet water' that Elisa Lam's decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESN'T want to hear that?? The Tolerance debut is just plain O.D.D. = Occidental Dome-Damaged. All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of Anonym. Take it from this VAIN JIT -- it's about the best time you are spend getting 'real' -- REAL STRANGE. And that is R.A.R.E. = Recycled Assumptions Re-Qualified as Extraterrestrials." --John Olson, last minutes of 2014, winter
Object Relations is Mark Fell's 7" label focusing on collaborations between diverse artistic practices. Recorded in Milan, 2014, the label's inaugural edition features a unique combination of Fell's crafty drum programming with the adroit, keening cello improvisation of trained cellist and composer Sandro Mussida. Fell's elliptical microtemporal LinnDrum arrangements are matched and colored with compelling streaks and wooden strikes from Mussida in a tussle of crooked time signatures and rhythmelodic cadence. A departure from Fell's electronic asceticism, perhaps best compared with the early '80s experiments of Peter Zummo and Arthur Russell, albeit effectively shorn of that duo's more melodic affectations.
In 1862 Charles Darwin peered between the petals of the Madagascar star orchid and predicted that somewhere there must be an insect that had evolved a snout long enough to reach the nectar inside. He never found one, but 40 years later, in 1903, the hawk moth was discovered, sporting a proboscis exactly the right length. Darwin was speculating on co-evolution, the idea that two species (here, a flower and an insect) might latch onto each other and evolve characteristics that would each benefit the other. And that's just what's going on in this botanical adventure -- or Adventura Botanica -- as Norwegian group SPUNK joins forces with one of Norway's leading modern dance exponents, Odd Johan Fritzøe, to create a sound and movement work celebrating Darwin's legendary, game-changing voyage to Madagascar. Premiered in 2013 at Oslo's trailblazing Ultima Festival of Contemporary Music, Adventura Botanica was the third collaboration between SPUNK and Fritzoe. Inspired by Darwin, this "study of the invisible laws of nature" featured Fritzoe dancing around a three meter high sculpture set among sonic objects illuminated in white, to resemble the star orchid, which were triggered by radio signals. SPUNK provided the accompaniment, feeding off the movements, and allowing their sounds to spontaneously generate in co-evolution with the performance. SPUNK recorded the music on this CD in a studio setting around the same time, as a document of the project, but its lush and ever-mutating jungle of sounds gives a vivid sense of dynamic movement and fertile imaginations as the four musicians extend their sonic probosces into the rich receptacle of the dance amphitheatre. Formed in 1995, SPUNK comprises four of Norway's most innovative musicians: Maja Solveig Kjelstrup Ratkje, Hild Sofie Tafjord, Lene Grenager, and Kristin Andersen. The quartet combines talents spanning vocal experiments, instrumental virtuosity, impulsive improvisation, and a witty sense of play. Here, they engage in vertigo-inducing microtonal slides and exotic, tropical textures. Fans of Ratkje's incredible solo vocal works will find plenty to enjoy in her whistling, muttering, or operatic singing. All four work in the indefinable area between modern composition, free jazz, and total improv, a crossover zone increasingly dominated by Norwegian musicians. SPUNK seem to want to surprise each other as much as their audience, and in this piece, the music was also the seed that fertilised Fritzoe's movements, as he took his cue from their intuitive improvisation. Adventura Botanica: it's the natural selection.
Two Rootikal re-dubs on this Paradise Bangkok 7".
Sub Rosa presents another installment in its Early Electronic series, a silver vinyl reissue of Trevor Wishart's Red Bird: A Political Prisoner's Dream, composed between 1973 and 1977 using the studio of the University of York, and originally released in 1978 by York Electronic Studios. Wishart's compositional interests deal mainly with the interpolation by technological means between the human voice and natural sounds. He has been very active since the early 1970s in the area of electro-acoustic music (first with tape manipulation, later with computer pieces) and music theater pieces. He pays special attention to musical education, collaborative performance projects, and solo practice using original vocal techniques. In 1973 he did his doctoral dissertation at the University of York in musical composition. Since the mid '70s he has been doing systematic research into vocal sounds and speech articulation and the possibilities for their notation and musical organization, giving special emphasis to computer technologies. He is the author of a number of theoretical books on musical composition, philosophy, and sociology and has contributed to the design and implementation of software tools used in the creation of digital music.
Radio is an audio compass; the radio antennae, a divining rod. Positioned anywhere, it opens an exclusive window directly into the location in which it sits. Signals received on the medium wave (AM) and FM bands reveal programming intended for a local population by governmental, independent, pirate, or corporate media broadcasters. Anything from low-powered ethnic minority transmissions, high-powered westernized pop stations, and omnipresent state-run radio can be found on these bands. Shortwave bands expand the breadth and scope, pulling in regional and international receptions. Everything received factors into the experience. Music, news, talk shows, advertisements, station IDs, cross-phased interference, errant or intentional static-generated sounds, distant detritus, and random broadcast anomalies all become equally relevant. This disc continues the Sublime Frequencies locale-specific radio collage series with Vietnamese radio recordings culled and assembled from signals received in Hanoi and Ho Chi Minh City between December 2013 and November 2014. Inside the 70-minute program are moments of outstanding folkloric, traditional, and pop music, including performances on the electric guitar and the dan bau (a one-stringed guitar-like instrument), eclectic Vietnamese folk and rock stylings, dramatic effects-laden radio theater and musical segues, new wave pop forays, traditional percussion and vocal chants, news segments, dynamic radio bumpers, jingles and advertisements, comedic interludes, phoned-in karaoke sing-a-longs, English-language programming, early-morning exercise regimens, and coded messages from the outer ether. The grand total sum of these radio recordings doesn't aim to present a certified ethnographic study of contemporary Vietnam. Rather, the material here aims to distill and replicate the excitement, engagement, and discovery gained during heavy exposure to Vietnamese broadcasts over an eleven-month period during the teenage years of the twenty-first century. CD comes in a beautiful digipak with full color images, a booklet, and liner notes by Mark Gergis, who recorded, compiled, sequenced, and produced the project for Sublime Frequencies on location in Vietnam.
4LP box set version. The great Sun Ra Arkestra, live at Jazzgalerie Nickelsdorf, Austria on March 11th, 1984. This is a recording of the entire -- nearly three hour -- performance. Personnel for this show was Sun Ra (piano, synth, vocals); John Gilmore (tenor saxophone, clarinet, evi, vocals); Marshall Allen (alto saxophone, flute, kora, percussion); Danny Ray Thompson (baritone saxophone, flute, percussion); Eloe Omoe (Leroy Taylor) (alto saxophone, bass clarinet, percussion); James Jackson (basoon, flute, drums, vocals); Ronnie Brown (trumpet); Rollo Radford (standup bass); Don Mumford (drums); Matthew Brown (congas, dance); Myriam Broche (dance); Greg Pratt (dance). Vinyl box limited to 1,000 copies.
Despite having independently released the first punk rock single on the US west coast, Crime's legend has never spread beyond a comparatively small but extremely adamant cult. The fact that they only released three singles during their existence is certainly a factor in the lack of recognition afforded them. Probably more significant is the fact that Crime's music and image set them apart from what soon became discernable as the typical punk rock scene. The amphetamine blues lead guitar bursts that responded to the vocal lines in nearly every song, as well as the frequently dispassionate vocals, set them apart from the bandwagon-jumping art-schoolers (who were all too often devoid of rock and roll attitude), as did their carefully cultivated look and their anti-social attitude. Crime compiles the complete recorded legacy of the band fans have come to refer to as San Francisco's first and only rock and roll band. It includes three facsimile reproductions of Crime's original singles and four more 7"s featuring ten tracks recorded from 1977 through '79 and unreleased at the time, among them a "Be Bop a Lula/Peggy Sue" medley unavailable elsewhere until now. The records are accompanied by a 20-page booklet with an extensive band interview by Michael Lucas, photos and memorabilia, plus a special text written by film director and Crime fan Jeff Feuerzeig (The Devil and Daniel Johnston). Includes a CD with all 16 tracks.
2015 repress. LP version, purple vinyl. Originally released in 2001. Bravery, Repetition and Noise is a dark, dreamy album, rich in atmosphere, layered in waves of sound. The album's antecedents are clear, inspired by psychedelia as they were by punk's nihilism, pulling both strands into a doom-laden, experimental sound quite distinct from anything that had come before or since. Brian Jonestown Massacre uses this as their touchstone, lovingly re-creating the moods and atmospheres of the past.
10 to the Power of 9 (Deluxe Edition) 2CD
Nezumimochi PIC. DISC + CD
Red Bird: A Political Prisoner's Dream LP
The Boston Tea Party, March 13th 1969 2LP
Live at the Boston Tea Party, December 12th 1968 2LP
Live in Nickelsdorf 1984 4LP BOX
Neu Konservatiw PIC. DISC
WBUF FM Broadcast, Buffalo, NY, February 8th 1979 LP
Living Is for Giving, Dying Is for Getting LP
Roob Lor Pu Tai (Rootikal Re-Rub) 7"
Providence College, Rhode Island, April 26th 1975 3LP
Boston Music Hall 1977 2CD
Drippin' for a Tripp 2x12"
Devil's Hands/Invaders 12"
What Do You Prove/Hail Iyah 12"
Nonplace Soundtracks: Scenes 01-25 CD
Bali 1928, Vol. II Tembang Kuna: Songs from an Earlier Time CD
Solo and Ensemble Works CD
Quand on N'a Que L'Amour CD
J'ai Rendez-Vous Avec Vous CD
Complete String Quartets 4CD BOX