What does a rave sound like the next day? The strobe lights in a dark warehouse, the pounding kick, the blur of ecstatic faces lead to a morning-after emptiness, all fade into memories of the friends you once had. On Ode, Tin Man (proper name Johannes Auvinen) explores this feeling, offering tracks which possess an exhausted joy, the aural equivalent of the stretch of time beginning when the last record is played and stretching on towards the doleful contemplation of last night's unmade sheets. Appropriately, Tin Man's melancholic dance music is more club-ready than ever. The opening tracks explore the spacious atmosphere first proposed on Neo Neo Acid and the (recently-repressed) Acid Test 01 collaboration with Donato Dozzy. Auvinen continues to coax unique, bittersweet sounds out of the 303 -- his control is akin to a virtuosic Theremin-player, all dramatic lunges and dynamics. Yet on tracks like "Depleted Serotonin," the memories of half-remembered nights surface. That track reprises the minor-key rave breakdown, ending with nearly three-minutes of knackered techno throb. Similarly, "What a Shame" sounds like a forgotten Warp classic run through Tin Man's palette of tasteful reserve. Always conceptual, Tin Man is commenting on big-room techno music by presenting his thoughtful, hungover version of it. On "Vertigo," he reins in the acid box acrobatics -- opting instead for a rudimentary, early-Chicago style pattern, eventually following optimistic chords skyward. It's a simulacrum of that end-of-the-night moment when the music is so charged and utopic that all fatigue is forgotten. Auvinen's recognized talent to imbue machines with complex human emotion draws us into his world. With Tin Man's music, there is always something left unsaid -- he uses familiar elements yet his perspective remains singular and mysterious. Each dream-like track is another clue. He ends the set with the intensely dramatic "Memoraphilia" and "Ode." The former concludes on an ominous note with strings that evoke paranoia, yet this feeling, too, will pass. The final (and title) track begins with the Deepchord-level percussive filtering that acts as the album's textural base. Almost immediately, Tin Man introduces an octave-jumping acid refrain. The four-bar loop reaches operatic heights of yearning. "Ode"'s rave stabs indicate this drama comes from the implacable notion of being alone in the crowd -- an emptiness which can remain long after it's disbanded. What comes when the dance is over?
Arkansas at 78 RPM: Corn Dodgers & Hoss Hair Pullers
For the traveling recording men of the late 1920s, Arkansas offered enticing pickings. The region was thronged with vigorous, idiosyncratic string bands. This album carries the listener from the hillbilly music craze of the '20s to the song-based country music of the late '30s. Scarcely more than a decade, but a period, in music as in all American life, of galvanic change. This CD serves as the soundtrack album to the newly-released photograph book, Making Pictures: Three for a Dime by Maxine Payne. All of the photos in this package are from the same cache of photographs taken by the Massengil family in their mobile photo-booth trailer throughout rural Arkansas in the 1930s-1940s.
"It is indeed gratifying to know our program has made so many minds and hearts drift back to the earlier days when all was well, when the 'hoss hair pullers' of old were in due form and all parties concerned were in a receptive mood for tipping of the fantastic toe... My aggregation from this district claim that their music and songs are not suggestive of anything except good and wholesome exercise ... So everybody come to the Arkansas Ozarks, where you can eat the best fruit in the world; where home-cured meat is found in the smokehouse and corn and hay in the barn; where you can juice your own cow, feed your own chickens, fish in the wonderful White River, meet these men of the Missouri Pacific and natives, and you will then say, 'Yes, indeed, you have the most wonderful country in the world.'" --Henry Harlin Smith, March 1926 on Hot Springs radio station KTHS
Includes a CD digipak with a 32-page booklet with liner notes by country music scholar Tony Russell. Newly remastered 24-bit audio transfers from the Music Memory archive. Features original 78 RPM recordings made between 1928-1937.
The London-based quintet Fofoulah (meaning "it's there" in Wolof) was formed in 2011 and features Tom Challenger (Red Snapper) on saxophone and keyboards, Phil Stevenson (Iness Mezel) on guitar, Johnny Brierley (Outhouse Ruhabi) on bass, Dave Smith (Robert Plant's Sensational Shape Shifters) on drums and Sabar drums, and Kaw Secka (Irok) on Sabar drums and tama. With the rhythms of the Sabar drums -- a traditional form of Wolof drumming from Gambia and Senegal -- at its heart, Fofoulah's music has evolved into an inspired cosmopolitan mélange that also incorporates elements of electronic music, dub, improvisation and Afro-rock. Like the complex city they live in, their music is shaped and lifted by diverse sound-worlds and cultures. Having performed mainly in the creative hubs of east London and Bristol, in 2013 Fofoulah released the Bene Bop EP, a collaboration with Senegalese singer Biram Seck. Later that year the band entered the famed Real World Studios near Bath to begin work on their radiant debut album Fofoulah. Produced by drummer Dave Smith (Robert Plant, JuJu) Fofoulah is a previously unvisited crossroads where Sabar rhythms meet dub bass lines and sci-fi synths; liquid melodies and Wolof rap entangle with trance-like dance grooves; and raw guitars, horns and samples blend with west and north African song forms. In the album's liner notes, bass player Johnny Brierley describes the creative journey that led to the making of the album: "The rhythms and traditions of the drums were essential starting points for our compositions and acted as the building blocks for all the other instruments -- our music has developed and evolved with each member's musical background and influences being heard within the band... Fofoulah, our first album, is a snapshot of the band at this moment in time and the result of a constantly developing sound." In keeping with the band's expansive approach, the album also features an incredible roster of guest voices: Senegalese singer and Bristol resident Batch Gueye, UK hip-hop sensation Ghostpoet, Algerian/Parisian singer Iness Mezel and the acclaimed Gambian-born, Fulani musician Juldeh Camara (JuJu, Robert Plant). Fofoulah is not merely a cross-cultural project. They are a dynamic band born naturally out of personal friendships and varied backgrounds, the nerve net of contemporary London and the post-global interconnectedness we all experience daily. The band is propulsive, innovative, celebratory, and always leaning forward. They are a thrilling extension of the deeply-rooted Sabar rhythms upon which their music revolves.
Function and Vatican Shadow have combined forces on Games Have Rules for Hospital Productions, simultaneously stripping back each producer's more prevalent production elements -- the dancefloor-focused techno structures of Function; the experimental cassette-roots of Vatican Shadow -- to create an album of dynamic electronic ambient music, equal parts rhythmic and atmospheric. As befitting what began life as an "emotional acid" album best suited for an after-hours home-listening experience, Games Have Rules was created in the early hours at New York's Hospital Productions and Berlin's Inanimate Objects studios, helping imbue the record with a sense of night turning into day, and the shifting contrasts of dark and light the music evokes. Although not created as the result of improvisation, the album retains an effortless, free-flowing structure, while simultaneously introducing the traditional techno drum kit over the course of the record, deconstructing the ever-changing, looming presence of New York City's skyline. Ambient in the most traditional sense, Games Have Rules omits the top-heavy reverb saturation of so many modern releases and builds from the ground up with an arsenal of hi-fi and lo-fi production techniques/equipment with a cinematic sequence over the arc of the record. But whereas New York City has so often been depicted in film as a prison, Games Have Rules is an embracement of the city's endless possibilities: the LP's gatefold black and white image of The Empire State Building lit up at night from the inside; the ongoing stories of rise and decline lived out at its base.
USA-born, now Australian-based composer David Shea is perhaps best recognized for his connections to John Zorn and the NYC downtown scene. In 2014, he returns with a new edition of outer-wave electro-acoustic deconstructions. Semiotic acoustic renderings, like dreams you lose before waking. From David Shea: "These pieces have been recorded over the last five years; combining ensembles of acoustic and electronic instruments, samples, and field recordings made in Australia and composed during my time living in Melbourne. In this period I have immersed myself in traditional ritual music centered on Buddhist and Taoist traditions as well as the work of Luc Ferrari and Giacinto Scelsi. The Rituals here are influenced by ceremonial rituals as well as internal and personal ones and pieces, which have combined the oldest and newest technologies. The character of the ritual puts the experience of listening at the center of the works, immersion in the experience of the sound as the focus. As the field of Cymatics has shown us in recent times, sound vibrations have effects on physical matter in specific ways, related to the frequencies, harmonics, time, relationship with space and the listener, something traditional healers, and those working with sound and music, have been aware of for a very long time. The ears are only one part of this extended network of hearing and the body and its senses are in constant communication with internal and external realities and beliefs. Scelsci explored this deeply in his music exposing how much life exists in a single sound and how many layers are involved in any relationship with that sound. Ferrari's work has always shown me that the connection between a composer of music, a recorder of sound and the use of the studio or electronics as physical instruments, is a process of exploring both musical structure and the full immersion in the experience of vibration (sound, light, movement) constantly around us. The Ritual forms that I explore here are a relationship between these influences, both real and imagined, with a combination of traditional instruments, samplers and electronic instruments. This weaving of these materials into patterns of layered histories, traditions, styles, techniques and the inseparable internal experience of composing them led to the hybrid of forms which each piece explores." Features contributions from Oren Ambarchi, Joe Talia, Scanner, Lawrence English, and Girish Makwana.
Tashi Wada's Duets LP is the first release from Saltern, his new imprint distributed through Important Records. Duets features a recording of Wada's series of string duos brilliantly realized by cellists Charles Curtis and Judith Hamann. From Curtis' liner notes: "How far can we enter into a single moment, such that for that brief speck of time, for an instant, unison is registered? This would suggest a different sense of unison, as a state of complete integration hidden behind the disparity and change caused by the passing of time." Edition of 425. Recorded by Tom Erbe and cut at 45 RPM by Rashad Becker. Pressed at RTI and housed in jackets with design by Marco del Rio and printed at Stoughton. Cover image by Marcia Hafif.
SLY & ROBBIE
King Tubby's Dance Hall Dub: Middle East Dub
On olive green marbled vinyl. Recorded at Stone River Studios; featuring "From the Grass Dub", "Middle East Dub", "Asian Roots Dub", "Flight Of Africa Dub".
Repressed. "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."
Kollektion 01: Sky Records Compiled by Tim Gane
To provide an overview of the various musical styles in which Bureau B specializes, the label launches a new compilation series entitled Kollektion. Each release in this series will be curated by a musician perfectly suited to the task. The first kick-off release will be: Kollektion 01: Sky Records, compiled by Tim Gane. The erstwhile Stereolab mastermind delves through the archives of the legendary German Krautrock label. More projects to follow: Kollektion 02: Roedelius -- Electronic Music -- Compiled by Lloyd Cole; Kollektion 03: Bureau B -- Compiled by Richard Fearless (Death In Vegas) -- Double Album; Kollektion 04: Populare Mechanik -- Compiled by Holger Hiller. About Sky Records: The record company was founded in the year 1975 and went on to become one of the few German labels to reap international acclaim. It was run by Gunter Körber, who quit his job at Metronome where he and Bruno Wendel had spent four years developing and managing the legendary Brain label. About Tim Gane: No less a figure than Tim Gane, the man behind Stereolab, has delved into the Sky Records archives for the Kollektion series. Gane has never hidden his love of Krautrock; many a Stereolab song has its foundations in the typical "motorik" beat, while his latest band, Cavern Of Anti-Matter wallows in Klaus Dinger rhythms. Experimental sounds hold no fear for him, as early noise cassette releases under his Un-Kommuniti alias testify. His selection of tracks fits the pattern seamlessly: Asmus Tietchens, Cluster, Moebius, Roedelius, Michael Rother, Riechmann, Gunter Schickert, etc. All names writ large in the avant-garde scene of German progressive music, as well as underlining Gunter Körber's audacity in offering such music a forum with his label. In the booklet, Asmus Tietchens, who released four albums on Sky Records, looks back on collaborating with Gunter Körber.
ClockTower Records Collector Series of 7" ''Volume One''
Tracklist: Cornell Campbell - "Gun Court/Gifted And Black"; Johnny Clarke - "Creation Rebel"/The Aggrovators - "Creation Dub"; Augustus Pablo - "Jah Light"/"Jah Light Drum And Bass"; Devon Irons - "When Jah Comes"/Lee Perry - "Jah Dub"; Burning Spear - "Travelling"/"Walking In Dub"; Johnny Clarke - "None Shall Escape The Judgment"/King Tubby - "Judgment Day"; Lee Perry And The Aggrovators - "Ski-Wa-Wa"/Junior Byles - "When Better Will Come"
"The 7'' box set first of the series featuring, rock classics reggae from the Clocktower catalogue. We know you will enjoy this 1st 7'' collector box set with a magnetic lid. All of these are from the 70''s and are in mint condition and some are in color vinyl. To all our fans who continue to buy and support the Clocktower releases whether on 12'', 10'' or 7'', we thank you! So please add this to your personal collection and listen and enjoy to the music of life." -- Alfred Newman
Prins Thomas jumped on the mixing decks and prepared a sonic trip for Endless Flight records and the Japanese festival "Rainbow Disco Club." The man from the Norwegian woods has been a guest at the top-notch Tokyo-based festival twice already. In 2014 he did not only play alongside edgy colleagues like Moodymann, DJ Koze and Kuniyuki, he also conceived with the festival organizers and Endless Flight man-of-action Toshiya Kawasaki the plan to do a mix CD that mirrors his current state of mind behind the wheels of steel. Those who are familiar with the work of the Scandinavian free-spirited producer, label-maker, and DJ will know that he does not like to repeat himself. As a liberal artist, he is always willing to enter new territories to reach a higher state of mind. There is house here, there is techno, dub sneaks around the corner, as well as flawless electronic sounds, some jacking Hi-NRG exultation and breezes of dark acid-laden electro. Thomas presents some signals from outta space by producers such as the dreamy techno one-of-a-kind Donato Dozzy, Chile-based sound scientist Atom TM and Berlin techno-kid Shed. He manages to also incorporate playful remixes and tracks by people such as Detroit's freaky jazz-head Theo Parrish, his musically-libertine fellow countryman Bjørn Torske and Birmingham's techno original Surgeon. There is also a ray of post-punk represented by a Crash Course In Science song that comes in a twisted Ricardo Villalobos remix. You hear a message delivered by the label's co-founder DJ Fett Burger and his mysterious buddy Speckgürtel. Furthermore, Glasgow's hottest new band export on the crossroad of jamming funk-punk and free-wheeling electronics Golden Teacher are included here as well as the neo-psychedelic Moon Duo, who is remixed by UK-based producer Tom Furse. Finally, the unpredictable mix waves good-bye with an uplifting Gerd remix of the piano house gem "Do You Feel Me," originally released in 1993 by NY's Finest. Other artists include: Floating Points, The Shookt, Krystal Klear, Deepchord, Mike Huckaby, Marcellus Pittman, Anstam, Helium Robots, Bee Mask, Silent Servant, Margot, Edmundy, Skatebård, Kevin Starke, Mark Du Mosch, Nukubus, Private Prod, Dimitri & Jaimy, and General Ludd.
"Eremite presents the first digital edition of Joshua Abrams' invaluable & out-of-print LP Natural Information (2010). Abrams' first record for Eremite is another fascinating entry in Abrams' discography of recordings that gather aesthetic input from all over the map into vivid personal statements. At the heart of natural information is the guimbri, a three-stringed animal hide bass traditionally used by the gnawa of North Africa in healing ceremonies. Combining solo, trio & quartet formats with adroit use of sampling techniques, abrams creates intricate psychedelic environments that join the hypnotic character of gnawa guimbri music to more contemporary musics & methodologies. Praised by Downbeat, the New York Times & Wax Poetics, Natural Information appeared on WFMU, Dusted, Aquarius & numerous other best-of 2010 lists & was selected as one of the 50 notable records of 2010 by the Wire. CD edition packaged in a high gloss Stoughton miniaturized gatefold sleeve with 20 minutes of previously unreleased additional material."
LP version. Those who know the respected Irish producer John Daly for his bubbly, melodically-nuanced house and techno tracks may get thrown off balance by his latest work under the Smoke Clears handle. While his 2011 release for Further, Sea Level, hinted at his fondness for Manuel Göttsching/Klaus Schulze-like kosmische ambience, on Listen Daly veers off into more introverted and arcane abstraction terrain. The title-track kicks off the album on a decidedly downtempo, contemplative note while maintaining Daly's knack for understatedly beautiful melodies. It sounds like the best song Morr Music never released. "Plumb" exudes a paradoxically chilled and urgent aura, with woodblocks seemingly made out of ice and heavily reverbed claps providing the hypnotic rhythm. The glistening IDM of "Star Shine" could be an outtake from Aphex Twin's Selected Ambient Works 1985-1992 (it's that gorgeous). The beautifully hoarfrost-y "Trace" evokes Seefeel's forays into fusing shoegaze atmospheres with abstract electronic beat matrices. With Listen, The Smoke Clears decisively steps off the dancefloor and enters one of the chilliest chill-out rooms a '90s clubber ever chilled in -- but the music's still a-bristle with all sorts of fascinating movement and textures. Despite Listen's banquet of ultra-cool tones, your neurons will work up a nice sweat.
The Viking of Sixth Avenue
2014 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)."
Returning to the full-length format after a couple of years well-spent in the 12" singles circuit, Brazilian groove architect Gui Boratto follows up his 2011 offering III (KOMP 090CD/KOM 242LP) with new masterpiece Abaporu -- an exotic and colorful journey into sound, spread over 13 richly-orchestrated club tracks that display the same penchant for ridiculously catchy melodies and infectious rhythms that already informed his revered 2007 album debut Chromophobia (KOMP 056CD/(KOM 152LP). In what may be his best work to date, Gui Boratto strings together various contemporary strands of pop-infused techno and house and translates them into his very own stream of groove consciousness -- also an act of cultural appropriation, as both Abaporu's cover artwork and title suggest: putting an inspired twist on Brazil's most famous modernist painting "Abaporu" from early 20th-century artist Tarsilo Do Amaral, they draw from the rich history of Brazilian modern art, where European and indigenous influences would collide in the most exciting manner. Elegantly swinging album opener "Antropofagia" elaborates on this by directly referencing the "Manifesto Antropogafo" (translated as "Cannibal Manifesto") from Oswald de Andrade in its title: Tarsila's husband was also a main proponent of the so-called Anthropophagic Movement that intended to literally devour European culture and turn it into something genuinely Brazilian. In a dazzling display of sonic depth and subtextual ingenuity, Gui Boratto arranges his lush synth-scapes accordingly, painting in broad, neoprimitivist strokes and bright colors that -- at a closer look -- reveal an immense wealth of retro-modernist touches and textural detail. Besides showing off its beautifully crafted melodic flourishes, the album's extended sound palette also flexes its dance muscles on a regular basis -- as eponymous minimal bouncer Abaporu or prime-time piano banger "Joker" prove with ease: a well-versed dance producer and engineer like Gui knows perfectly well how to lay out a narrative arc for utmost floor impact. Meanwhile, cuts like "Please Don't Take Me Home," "Get the Party Started" and "22" illustrate Gui's growing preoccupation with expertly tailored vocals or finely tuned guitar interludes -- updates to his sonic vocabulary that already lead to the fantastic summer singles "Take Control" and "Too Late." The extent of Gui's musical bravura becomes abundantly clear with "Indigo"'s masterfully directed ascension from a deceptively simple, laid-back glockenspiel melody to full-blown string drama in just a handful of bars -- an engrossing listening experience that primes the canvas for introspective, wistful groover "Manifesto," taking the album's emotional trajectory full circle. One of the Brazilian mastermind's most satisfying full-length efforts to date, "Abaporu" finds Gui at the top of his game, rewiring the electronic circuits that connect European and U.S. dance music to his own -- and our -- liking.
"Amassakoul, released in 2004, was made by a band in which four of the six players were newcomers and represented a shift to a more produced, intricate sound. It preserved the loose, camelback rhythms, call-and-response vocals, lively guitars, and handclaps of Tinariwen's unique sound but added a vocal drone to 'Assoul' and influences from Jamaican toasting on Tamashek rap track 'Arawan' and on 'Oualahila Ar Tesninam,' the group's hardest rock track yet. The album's name tellingly translates from Tamashek to 'The Traveler.' Issued on vinyl for the first time ever by Modern Classics Recordings, this is your chance to discover Tinariwen at the point when their travels to Europe and beyond created a cultural exchange beneficial for the band, for western music, and, ultimately, for the listener. Double LP housed in a deluxe Stoughton tip-on jacket with original booklet. All tracks newly remastered."
Marko Fürstenberg, currently living in Leipzig, has been experimenting with sound since 1999. Rooted in classical dub-techno, he not only knows how to interpret it, he's extending it further with his own personal aesthetic. In 2001, his first releases on a number of net-labels gained him a broad listenership. Then in 2003, his first album Gesamtlaufzeit (RC 003LP) was born. (Then years later, a son was born as well, but we'll get back to that.) Since 2005, Marko has been constantly releasing vinyl on labels such as Ornaments, A.r.t.less, Echocord Colour and Rotary Cocktail. And he's also done remixes for labels such as Resopal, Telrae, Freund der Familie, and many more, which all demonstrates the quality and sheer competence of his work. With his new album Ghosts from the Past, Mr. Fürstenberg doesn't say goodbye to an old chapter, but he's rather building a bridge to a new one. Familiar elements are the mortar to a complete musical piece, with an extended foundation, new accents, and a fresh face. GFTP is a musical retrospective of a new way of life -- with a child -- that was born in November 2010. The conception and creation of this album began to take form in parallel to that of his unborn son, as an almost aural twin. Marko's wife helped with the album artwork while also carrying a little Marko inside her. Meanwhile, over the three and a half years in production, Marko was also actively involving his now-toddler child in the sound research for his new album. "Stolbenkraft" includes made-up vocalizations from his son, mixed with a sneeze to a euphony. In "Woahhh," he's exploring the playful dispute of his offspring with several toys, e.g. a Thai wooden frog, amongst others. His tendency in his style of weaving pleasant sound experimentations is shown on the track "Piano," which reconstitutes moments of a piano concert, while putting them into new structures. Quite some time has passed in between each production, and the diverse accents of time in which this came together can be heard. Everything on this album melds together organically. On "GFTP," the Zeitgeist is touched, an Arabic singer can find her spotlight in a colorful soundscape, which alternately holds and catches us, and then ultimately lets us go again.
Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with 2013's Trust compilation, and the culminating Work comp doesn't break that streak -- consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. Its sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song "Things Behind the Sun" with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' "A Pixel," produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions -- "What They Say" and "Gone Too Soon." Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.
Worth the Weight Vol. 2: From the Edge
Punch Drunk Records presents the second chapter in its Worth the Weight CD compilation series, selected once again by Peverelist and presented in a digipak CD format. Since launching in 2006 with a vision of documenting Bristol's burgeoning and idiosyncratic reaction to dubstep, Punch Drunk has become a byword for quality and daring. The label has become a tastemaker in its own right, defining an era within the city's rich musical heritage. The last eight years has seen Punch Drunk release bonafide classics from artists developed, encouraged and debuted by the label; some of whom have gone on to become internationally-recognized artists. The cornerstones of Dubloaded, a club event that Pinch ran in conjunction with Peverelist, and Rooted Records, the record store managed by Peverelist, provided an era of fertile ground for local artists such as Headhunter, Appleblim, RSD and Joker. The first edition of Worth the Weight, featuring these artists and more, was released in 2010 and selected tracks from the first four years of the Bristol dubstep explosion. After the wider dubstep scene went overground, moving away from its original roots and context, the Bristol scene recalibrated and reflected on those dynamic first few years. Peverelist was keen to keep the Punch Drunk momentum heading in a direction of mutation and innovation true to its original manifesto, unique to and reflective of Bristol. Worth the Weight Volume 2 represents that second era, when a new school of Bristol artists were beginning to emerge. Many of them found their first releases at Punch Drunk and are featured on this compilation. Kahn's first two 12"s for the label were a dichotomy of colorful, swung rhythms and heads-down, deep and dark sound system music. Ekoplekz released two LPs for the label, drawing influence from Cabaret Voltaire via King Tubby, defining his own plane of dystopian dub. Zhou, a duo from the city's Young Echo collective, released two 12"s mastering their own esoteric perspective on heavyweight UK dub grooves. Andy Mac's UK house variants brought the funk and bounce back to Bristol's clubs, while Tessela's pounding percussion tracks rained down relentlessly on dancefloors. Bass Clef's recent masterful and acclaimed psychedelic voyage through techno on his Reeling Skullways LP is represented alongside rising star Hodge, whose Resolve 12" is surely a highlight of the label's catalog. Also includes a remix by Kowton. This new compilation provides a perfect snapshot of a city in constant flux, seen through the eyes of a label with a unique perspective on its surroundings.
"Turkish free-improv group KonstruKt was formed in 2008 by guitarist Umut Caglar, and since their inception, they've gained notice through their collaborations with such old-guard stalwarts as Evan Parker, Marshall Allen and Peter Brotzmann. The latter introduced them to the legendary Joe McPhee at the Krakow Jazz Autumn festival, and after striking up a friendship, they invited him to join them in Istanbul for a concert in March of 2014. Babylon was recorded the day after he arrived, with no prior rehearsal or discussion, although the seamless meshing could fool anyone into thinking that they were a longtime working group. Caglar came from an electronic music background before delving into free jazz, and it's reflected in the incorporation of moogs & a theremin into the ensemble's arsenal. The music itself swings from space-raga improv to soaring, full-throated anthemic melodies; some sort of Joe Meek jazz world where bird squeal falsettos pierce through a current of drums, only to struggle for breath, come up laughing, and take off far above. McPhee says, 'These guys are the real deal,' and he should know. Download coupon included."
"After cutting his teeth in the late '70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans. The title track is easily Branca's most accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. 'Dissonance' is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process. Soon after the release of Lesson No. 1, Branca began to work on ambitious, long-form symphonies. 'Bad Smells,' included here as a single-sided bonus 12-inch, was commissioned in 1982 as a dance piece for choreographer Twyla Tharp and originally released on a split LP with John Giorno. Featuring Sonic Youth guitarists Lee Ranaldo and Thurston Moore, 'Bad Smells' is a thrilling multi-section guitar assault that foretells much of Branca, Ranaldo and Moore's work for the next decade."
"To commemorate Cut Chemist & DJ Shadows Renegades Of Rhythm tour Boo Hooray has prepared this limited edition tour book. Inside you'll find exclusive texts by DJ Shadow, Cut Chemist and Afrika Bambaataa detailing the history of the Zulu Nation, the history of Hip Hop DJ-ing and Bambaataa as well. Included are full color reproductions of numerous original records, test pressing and acetates from Afrika Bambaataa's collection. As DJ Shadow says of the records used on the tour and featured in the book, 'They're his records, with his blessings. This isn't just ANY copy of 'X' breakbeat, it's THE copy, THE copy that started everything.' Also included are full color images of dozens of funky-fresh, original Bambaataa hip hop flyers, rare drawings, rare photographs and more including lists of Bambaataa's favorite breaks." 80 pages; softbound.
Ryan Lee West aka Rival Consoles reinforces his unique style of minimal electronic arrangements with a new 6-track EP. With Sonne, Ryan creates music to structure itself around a pulse, rather than the pulse being the defining point. Not relying on a conventional beat, the title-track is a prime example of how an analog synthesizer can create the power and momentum of a rhythm section. From the distorted waves in "3 Chords," to the rhythmic waves of constant speeding up and then slowing down on "Recovery," it's the Moog Voyager, Prophet and tape delay that make up the core sound of the EP.
Roughing up accessible sounds has been a theme throughout Marquis Hawkes' career, and nowhere has it been so clear than on his debut for Fabric's in-house imprint, Houndstooth. Four upfront house jams, each demonstrating a different side to Hawkes' production talent, take in jazz-inflected deepness, disco flavors, quirky cyber-pop through to futuristic funk. Think Prince meets Neneh Cherry, held hostage by Gene Hunt's relentless 909 selections. Despite the variety of influences on display, a contiguous thread is maintained, something also reflected in his DJ sets, their all-encompassing yet coherent nature winning over fans far and wide.
Double LP version, cut to 180 gram vinyl. The fears and passing joys of the world pouring in through mouth, nose, eyes and ears. React against what we cannot stand: the co-opted postures, the gimmicks of aspirants, unconscious reactive strategies. Here now in the contradictory mix of the blissful, the panicked and the paranoid that thrives place to place. Drowning us. Veins, organs and mind are filled until we blur into these cities and skies and our reactions fade away. A positive assertion is staked and I see that this is no longer a part of me. Call Super's highly-anticipated debut album Suzi Ecto is presented on heavyweight double LP. Presented in bespoke PVC sleeve with spot varnish pattern.
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