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viewing 1 To 22 of 22 items
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LP
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LPOST 071LP
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Crystal white vinyl. The film is based upon books written by Paolo Villaggio and narrates the misadventures of accountant Ugo Fantozzi, and his vicissitudes on his workplace and private life. It builds a unique communicative style to which generations of Italian people are fond. The soundtrack composed by Fabio Frizzi, with the collaboration of musicians Vince Tempera and Franco Bixio, is based upon the cue "La Ballata di Fantozzi," a cult track that literally everybody in Italy could whistle by memory, just to witness the immense cultural heritage of this cinematic franchise. This edition pays homage to the 50th year of life of Beat's favorite accountant and, aside the aforementioned cue features other cult tracks such as "Impiegatango," the New Year's Eve party music, the themes describing Fantozzi's "love affair" with Mrs. Silvani, music describing hallucinations of Fantozzi and Filini, the background music in the Japanese restaurant and alternate versions of "La ballata di Fantozzi." A release that marks an important appointment for all film music and Fantozzi lovers now available in a limited edition on crystal white LP, cover featuring the logo of the movie and Paolo Villaggio silhouette embossed, mastering by Claudio Fuiano, graphic layout by Daniele De Gemini featuring on the cover the crucifixion scene in the canteen room and, on the back, a lobby card reproduction displaying an epic scene of the football match "married vs singles."
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DIS 030LP
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2025 restock, on red vinyl. Fugazi's debut 7 song EP, originally released in 1988. Printed inner sleeve with lyrics. "This 12" EP was recut from the Silver Sonya masters in 2008 at Chicago Mastering Service."
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2LP
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DC 948LP
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LP version. "From out of the dark, the crackle of feedback birdsong signals a return to the land of sound environments exclusive to the music of Rafael Toral. A year and a half after his epochal electric guitar album, Spectral Evolution, Traveling Light finds him sharpening his focus, moving boldly from abstract forms to concrete compositions in the form of a set of jazz standards. Based on Toral's discography, this may seem an unlikely endeavor, but happily, Traveling Light transpires to be one of the major accomplishments in his long history, expressing these songs on their own terms through the unique listening lens of his music. Toral sidesteps the traditional logic of how to play a song, moving outside the framework with which one would expect a standard to be treated. Three decades ago, in the early years of his practice, Toral used the guitar as a generator, to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music, and the silence from which it came, with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies, radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. The result is a listening experience of these standards, that remains 'in the tradition,' even as the elongated harmonies seem to alter time such that, as Toral notes, 'the chords become events on their own.' At points, the long tones animate the sacred ennui of liturgic music, the choir or the organ standing in for silent contemplation while rumbling the ground beneath our feet. Another echo of the concentric circling of music in time. In addition to Toral's proxy orchestra of guitars, sine wave, feedback and bass guitar, Traveling Light features the sounds of clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe, and flautist Clara Saleiro, who each guest on one song. One of Toral's self-made devices incorporates a theremin -- another near-century old innovation in electronics conceived for use in classical music -- to modulate feedback melodies here. In every contour of Traveling Light's path -- arrangement, improvisation and production -- the spring of the old pours through the new in an unstoppable flow."
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DC 963LP
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"Out of the roiling miasma of timeless time comes a long-promised delivery from one of the constants of this era: Major Stars, and their new LP, More Colors of Sound. Fueled by overdriven guitars and gut-punching rhythm, these veteran rockers are stalwart in their delivery of trippy, psyched-out extremes. Over the 27 years since The Rock Revival (their Twisted Village debut), they can be counted on to come back around every three or four years or so, with something heavy picked up on their journey. This time, it's been since 2019's Roots of Confusion Seeds of Joy -- but what's a few years in the larger scheme of things? It's been since the late '90s that Major Stars have been transmitting their signal. But even eternity wasn't built in such an arc of time: Wayne Rogers and Kate Biggar have been crossing necks dating back to the '80s, with Crystallized Movements' screaming psychpunk hybrids. Tom Leonard, Major Stars' current third axeman, has been in the mix almost as long: Luxurious Bags' amorphous low-fi was released on Twisted Village too, and Kate and Wayne and him all played together in Vermonster. The More Colors of Sound lineup is as-was for Roots of Confusion Seeds of Joy: Kate, Tom, Wayne, Dave Dougan on bass, Casey Keenan on drums and Noell Dorsey singing lead. More Colors of Sound had been earmarked as a title for nearly twenty years when they started work on the album that would finally bear its name. For the first ten Major Stars releases, Wayne wrote everything, but due to the way things were in 2020 and 2021, Tom and Noell wrote a bunch of things together, along with Wayne's stuff. By the time they got to Gloucester's Bang-A Song Studios, there was enough music for a double LP. As ever, the crush of the three guitars as they riff with the rhythm defines Major Stars' sound. The work of two writing camps has produced a song-centric focus on More Colors of Sound -- one, of course, shot through with distorted tones, fevered neck-wringing solos and several extended jammers -- but the production overall has a cleaner sound than its predecessor. On More Colors of Sound, Major Stars find new hues inside the incendiary approach that's launched them so ecstatically since early times; another jar of infinity captured with a quality all its own -- and it's all in the grooves!"
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DC 967CD
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"In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim's deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, 'Inner Day' and 'I Don't Do / Grand Central,' his words and voice in the mix for the first time. A drummer of exquisite powers, great and small -- his Dirty Three compatriot Warren Ellis contends his playing long ago 'split the atom' -- Jim's capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. Inner Day is a state of nature: peace and tension, rest and disquiet aloft on the wind of Jim's inspiration. Working in conversation with his long-time collaborator Guy Picciotto on Inner Day, Jim travels further into the hypnotic relationships that they captured on All Hits: Memories. Here's another old friend, filmmaker Jem Cohen: 'I drove around listening to Jim's new record. It fit so well, even when the things themselves didn't: the straights and turns of the road, fields and houses and industrial parks, the possible rain, deep spring greens and the greys of a parking lot, the rain when it finally came. It goes where it will, quite fearlessly but never demonstrative or showy about its risk-taking. I'd say the record's a conversation Jim's having with the world, one that isn't about drums or being a drummer but, more expansively, about music as the spillway for feeling and experience.' Jim himself adds: 'On my first album All Hits: Memories, I wanted to have a keyboard sound to keep the drums company as together they celebrated why some things just 'hit' the psyche, why some memories stick. Later, I found the notes wanted to move more and so on my second album Inner Day, that is what they do.'"
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DC 967LP
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LP version. "In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim's deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, 'Inner Day' and 'I Don't Do / Grand Central,' his words and voice in the mix for the first time. A drummer of exquisite powers, great and small -- his Dirty Three compatriot Warren Ellis contends his playing long ago 'split the atom' -- Jim's capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. Inner Day is a state of nature: peace and tension, rest and disquiet aloft on the wind of Jim's inspiration. Working in conversation with his long-time collaborator Guy Picciotto on Inner Day, Jim travels further into the hypnotic relationships that they captured on All Hits: Memories. Here's another old friend, filmmaker Jem Cohen: 'I drove around listening to Jim's new record. It fit so well, even when the things themselves didn't: the straights and turns of the road, fields and houses and industrial parks, the possible rain, deep spring greens and the greys of a parking lot, the rain when it finally came. It goes where it will, quite fearlessly but never demonstrative or showy about its risk-taking. I'd say the record's a conversation Jim's having with the world, one that isn't about drums or being a drummer but, more expansively, about music as the spillway for feeling and experience.' Jim himself adds: 'On my first album All Hits: Memories, I wanted to have a keyboard sound to keep the drums company as together they celebrated why some things just 'hit' the psyche, why some memories stick. Later, I found the notes wanted to move more and so on my second album Inner Day, that is what they do.'"
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EFFICIENT 046LP
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A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied "offshoot" formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton, and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century. Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory, then or now, though. Fellow travelers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb
's Robin's Reign). There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality -- think of abstract cloud formations sharing the same sky. Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory is thus named perfectly. A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction.
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BEC 5772796
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2025 restock. Jacques Canetti Productions presents Jacques Higelin & Brigitte Fontaine's 1967 album Chansons D'Avant le Déluge, reissued on vinyl as part of a series of albums highlighting the work of French talent agent and producer Jacques Canetti. In his lifelong dedication to chanson, Canetti supported and developed the careers of a dizzying array of artists: Édith Piaf, Jacques Brel, Serge Gainsbourg, Boris Vian, Georges Brassens, Serge Reggiani, Léo Ferré, and Jeanne Moreau are among the most notable. Brigitte Fontaine's partnership with Canneti had begun a year before this album's release with her debut album, 13 Chansons Décadentes et Fantasmagoriques (BEC 5772795). This, her second release on Disques Jacques Canetti, heralded the arrival of her highly productive partnership with Jacques Higelin, and remains a cult duet album. Chansons D'Avant le Déluge includes "La grippe" and "Maman j'ai peur," two songs that would go on to become centerpieces of the duo's stage musical Maman j'ai peur. The album features production by Canetti and orchestral arrangements by Jimmy Walter, who also arranged the orchestral parts for Fontaine's debut. Remastered from the original tapes. Housed in a gatefold jacket with original artwork.
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3LP
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KOM 370-3LP
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2025 repress. Pop -- the album that has become widely recognized as the defining moment in which Wolfgang Voigt brought his listeners into a clearing of his deep, psychedelic forest. A landmark release in the GAS odyssey that drew international attention, Pop was originally released in 2000 on the iconic Frankfurt imprint, Mille Plateux. Pop was heralded by Pitchfork at the time of release as being "an exercise in sonic texture... pure sonic velvet, the layered drone radiating a palpable warmth." Pop was reissued by Kompakt in 2016 as a part of GAS Box (now out of print) and by itself here. First time on 180 gram, triple-LP vinyl; includes original artwork.
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KOMP 186CD
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Kompakt's Total 25! Another anniversary in a year that is already rich in anniversaries. For the 25th time, the Kompakt family is gathering for its annual rendezvous. The latest boy band in town, Pop Vampires Cologne, opens the party with the enigmatic "Karianne." Superpitcher knows how to make a grand appearance, accompanied by high-caliber guests. His electro-pop treat "Pandora's Box" features Hot Chip's Alexis Taylor on vocals. Jürgen Paape isn't coming alone either, but with newcomer Hella in tow. "Grace (A Tale)" once again shows the resident hit maker at his best. Jörg Burger also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. Reinhard Voigt points out that money never sleeps and proceeds according to the motto: "Zahl an einem anderen Tag (Pay another day)." Brazilian whirlwind Gui Boratto returns after a long absence with the banger "Panorama X-Press." After careful consideration, Robag Wruhme has named his new track "Total" and sings in the chorus with his family for the first time. Wassermann contributes an ultra-fat remix of Mayer's "Brainwave Technology," while Michael Mayer himself marvels at the rare "Erdbeermond." Hardt Antoine's "Let Me Go" really gets the party going again before Wassermann orders a large taxi and skips out on the bill.
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MAG
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MAGGOT 021
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"On the cover: A comprehensive feature by music writer Shahlin Graves on why Japanese Breakfast's recent record For Melancholy Brunettes (& Sad Women) rules so hard, going in-depth on the meaning and gestation of many of its songs with band leader Michelle Zauner, author of Crying in H Mart. Also includes a bunch of really killer, exclusive photos lovingly accompanying the piece. An exceptional interview with Kai Slater, the super prolific, talented 20-year-old member of Lifeguard, about his terrific pure-pop-for-now-people solo project Sharp Pins by Sydney Salk. Includes amazing, lengthy oral history from the crew who worked behind the scenes on the 1981 Bronx-based cult horror flick Wolfen. This alone is probably worth the price of admission. A deliriously well-written tribute by noted music scribe and DJ Kurt Reighley to Gavin Friday, covering his entire career: from the Virgin Prunes through Hollywood collaborations, and his solo work today. Two separate charged and cantankerous interviews by Knoxville-based historian Eric Dawson, stitched together and serving as a swell tribute to the great Pere Ubu leader David Thomas (RIP). Ubu forever."
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MGART 614LP
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2025 repress. MG.ART announce the reissue of Join Inn as part three of the authorized 50th anniversary "A.R.T." re-edition series. Join Inn is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion Each side of the LP comprises one long track. In 1972, Ash Ra Tempel teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, Ash Ra Tempel members Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late-night session. This recording led to the birth of the Join Inn album, as well as two legendary last concerts in February 1973 in Paris and Cologne. Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on "Freak n' Roll", that was ingenious and not to replace ever since. It was the last recording ever where Klaus Schulze (who sadly passed away in 2022) played the drums and also Hartmut (the Hawk) Enke soon after quit the bass and music forever. Join Inn marks the end of the collaboration with Klaus Schulze. However, together with Ash Ra Tempel, their eponymous first album, it is considered a highlight of the Krautrock movement. Re-cut overseen by Manuel Göttsching.
Julian Cope's review from his book Krautrocksampler (1995): "'Freak'n'roll' fades in like it never started -- just was always there from the beginning of time, a dry wah-guitar free rock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Göttsching's guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it's the return of Klaus Schulze on drums which propels 'Freak'n'roll' to its height. No-one but Klaus has the ability to transcend rock n' roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it. 'Freak'n'roll' is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song. As usual with Ash Ra Tempel, the other side is an enormous drift piece called 'Jenseits (The Next World)', a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers' meeting with Timothy Leary..."
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LP
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M 1219LP
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Restocked. "Alto saxophonist Marion Brown was an initially underrated hero of the jazz avant-garde. It was only after he moved from Atlanta to New York and joined John Coltrane that audiences and critics took notice. Dedicated to discovering the far-reaching possibilities of improvisational expression, Brown possessed a truly lyrical voice. In the early seventies, he played with Anthony Braxton, Andrew Cyrille, Bennie Maupin, Jeanne Lee, and Chick Corea, among others. On this recording, he was accompanied by the German jazz musician Gunter Hampel (composer, vibraphonist, saxophonist, flutist, pianist, and bass clarinetist). His son Djinji remembers his father by saying, 'The way he played sounded like his speaking voice, the way he held his horn reminded me of the way he held my hand, the way he walked was in the same rhythm as his songs, and then everything made sense. His music was first and foremost who he was. It was the purest expression of his soul, and everything he did had the same gentle power as his music. He was truly one with his art; there was no separation between the two.'"
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2LP
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NA 5147LP
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Limited 2025 restock, last copies; Double LP version. Includes download card. Featuring Nogzi Family, Witch, Musi-O-Tunya, Chrissy Zebby Tembo, Amanaz, Blackfoot, "and every important Zamrock band." "Explore Zambia's liberation and its impact on the country's rock revolution. By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country's first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the '70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated. Musical themes, mainly sung in the country's constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late '90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive -- but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence."
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LP
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ONEINST 005LP
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Limited restock. For the fifth release on Grand River's experimental label, One Instrument, synthesizer maestro Donato Dozzy gifts us with an incredible, psychedelic 38-minute journey. "Slow Train" has been created using the EMS Synthi AKS, an extraordinary and rare portable modular analog synthesizer, first manufactured in 1972. This One Instrument Sessions release highlights the artist's most experimental side on what will be his seventh studio album. These tracks are the honest outcome from a long and intimate engagement with the instrument which were produced in his San Felice Circeo studio during an "altered state" night in October 2013. The resulting music is one of fluid continuity; Dozzy's most extensive, vigorous, and determined application of real-time studio recording to date. The intensity of both parts of "Slow Train" are comparable to a mindfulness experience in which the listener's perception of reality slows down enabling every small detail of the sound to become alive and increasingly vivid. Edition of 500.
Few DJs and producers are as widely and universally acclaimed in techno circles as Italian Donato Dozzy. He has a rare ability to work his way into peoples' minds in both contemporary and classical settings, conjuring real mood and atmosphere. Never one to pay heed to the zeitgeist, he prefers to deal in hypnotic soundscapes that really take you on a trip. Enigmatic as he is, and laidback as he seems, as an artist he is constantly unveiling new work. Displaying a large variation in terms of sound and method across many new releases each year -- some of which come on his co-owned label Spazio Disponibile -- he also puts out installations for public spaces and museums, uses obscure musical instruments, collaborates with like-minded producers, classical singers, or visual artists. Donato seems to continuously challenge himself on a creative level: whatever method he uses, though, he is always likely to permeate your cerebral cortex and rewire it in fascinating and compelling new ways.
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MAG
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SL 001MAG
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"60 pages of miasmic scribblings for those deemed rotten to the core! Interviews, columns, art, nonsense, and a ton of reviews. Featuring writers past and present for Terminal Boredom, MRR, Celluloid Lunch, The Bible, Bored Out, Wipeout, Conflict, and more! Interviews with Craig Bell, Retail Simps, Puppet Wipes, Goodbye Boozy, LiveFastDie, and Will Killingsworth."
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SV 077LP
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2025 repress. "In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance. As Byron Coley writes in the liner notes, 'Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was), with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!' Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as 'The Pink Album' for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems 'We Are The One' and 'The American In Me,' while penetrating ballads like 'Corpus Christi' reveal a truly out-of-body euphony. The Pink Album remains The Avengers' definitive statement -- collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, 'The word I always come back to is mystical, and that remains almost theirs alone.'"
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12"
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SV 177EP
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2025 restock. "These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto. The Screamers concept was simple, yet audacious: take the spirit and the look of punk -- the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism -- and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational -- to evoke (as Tomata described in an early interview) a state of anxiety. Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' -- perhaps their peak moment, recorded at Target Video in August 1978 -- has now passed over 650,000 views online. This is the Screamers' time, and the time is now." --Jon Savage (excerpt from the liner notes). Cover featuring artwork by Gary Panter.
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SYNAPTIC 003LP
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The 85-year-old video game queen and film composer pdqb (born on November 14, 1939) delivers a beautiful love letter to your boomer childhood, a wild ride through the golden age of video gaming. Hear how she dodges bullets, jumps over cosmic chasms, beats bosses, reaches bonus stages, uses cheat codes and even her last continue -- just to stay in a world of pixels and vectors forever. pdqb will bring you back all those fond memories of unburdened joy that you might have lost while growing up. She could be your savior. Synaptic Cliffs is filled with otherworldly pride to present these 14 timeless masterpieces to its beloved listeners.
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THRILL 637CD
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"claire rousay's music cascades from a well of documented experience, reflections of the past that compose the present. A prolific multi-instrumentalist, producer, and composer, rousay gracefully crafts boundaryless music. From her frequent and acclaimed collaborations with artists like M. Sage, more eaze, Gretchen Korsmo, Andrew Weathers, LEYA, and Alex Cunningham, to her film scoring like on The Bloody Lady. From her own compositions to her solo pop work, rousay's music is delicate yet powerful, carefully constructed with a casual intimacy. rousay collages a wealth of found sounds and field recordings with earthy strings, stately piano, and processed instrumentation, all of which trace the outlines of memories and distinct impressions and create a complex constellation of feeling. rousay's music has evolved from confessional to conversational and excavates the rich emotional essence of each passage. Her work as both archivist and adept arranger and orchestrator merge sublimely into deeply honest and engrossing music. On a little death, rousay's blend of pop sensibility and compositional acumen turn abstracted sounds into tangible feelings, its warm, glimmering glow coalescing sensually with the darkness. The process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024's sentiment. 'sentiment was a different way of working that helped refresh my music making habits and usual flow,' rousay notes. 'This record is a return to what I see as my core solo practice, a re-dedication to those methods of working which I've found most align with what I envision my music or sound to be.' Intended as a part of a trilogy along with a heavenly touch and a softer focus, the pieces on a little death sprout from a wellspring of tactile samples and granularly processed sounds. The use of sounds recorded from her life outside of the studio remains a throughline in her work. While the previous two albums used field recordings as the primary sound source or central figure in the compositions, here they act more as springboards, timbrally intertwining with live instruments like additional voices in a chamber ensemble."
"Pop at its most fragile, attenuated and surreal." --New York Times
"a fantastic tour de force -- a musical antidote to numbness." --Rolling Stone
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LP
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WH 390LP
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LP version. "Mike Clark returns to Wide Hive with an amazing ensemble. Eddie Henderson on trumpet, Henry Franklin on bass, Craig Handy on saxophone, and esteemed artist and educator Patrice Rushen on piano. On nine new recording Mike again shows his versatility easily leading compositions that span straight ahead to funk and beyond."
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LP
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WRWTFWW 040LP
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2025 repress. WRWTFWW Records present the much-anticipated official reissue of Japanese duo Inoyamaland's quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue. With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended." Playful and magical, it's a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The ten-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful. The original recording sessions for the album took place in an apartment filled with Inoyamaland's "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. And thus Danzindan-Pojidon was born, an absolute must-have, sitting in the pantheon of all-time '80s Japanese ambient greats alongside Midori Takada's Through The Looking Glass (WRWTFWW 018LP/019CD/019LP), Hiroshi Yoshimura's Green, and Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP) -- and holding that mysterious power of "music that makes life a little easier and happier." 350gsm sleeve with selected UV high gloss varnish.
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