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viewing 1 To 25 of 45 items
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2LP
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12XU 147LP
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"Hell 2 is not the first album from Austin's Blank Hellscape, but it's certainly the most fully-realized. OK, at least it's the LONGEST. The self-professed three-piece nightmare band knocked around the claustrophobic end of the house show circuit for a longish spell but right around pre-'dermic times, the trio of Ethan Billips, Max Deems, and Andrew Nogay have morphed into a multi-dimensional synapse-snapper with little regard for genre nor their own self-preservation. On that front, Hell 2 was echelons in the making; it would not be an exaggeration to say the writing/recording/editing process was arduous and lengthy enough it nearly took Blank Hellscape out of the game for good. But before you declare, "better luck next time", strap yourself in to your favorite listening chair/apparatus and bask in this sprawling double album, to these ears, an uncanny musical amp."
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LP
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BANG 040LP
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2025 restock, 140-gram vinyl, gatefold cover. In 1980, right before the recording of The Gun Club's mighty debut The Fire of Love, Jeffrey Lee Pierce did a handful of solo acoustic recordings based on his fascination for Mississippi Delta blues. And this is what this record sounds like -- Jeffrey Lee Pierce doing a review of the classic blues -- raw, bitter and straight to your heart. These recordings are now released on vinyl for the first time. This album contains a 16-page booklet with previously-unreleased photographs and chronicles from Pierce's friends, speaking about their times and memories with him -- people such as Nick Cave, Mark Lanegan (Screaming Trees, Gutter Twins), Henry Rollins, Kim Salmon (Scientists, Beasts Of Bourbon), Terry Graham (The Gun Club), Tex Perkins (Beasts Of Bourbon, Cruel Sea, Butcher Shop), Kid Congo Powers (The Gun Club, The Cramps, Nick Cave And The Bad Seeds, Butcher Shop), Jim Sclavunos (Nick Cave And The Bad Seeds, The Cramps, Sonic Youth, Panther Burns), Spencer P. Jones (Beasts Of Bourbon, The Johnnys, Butcher Shop, Slappers), Steve Wynn (Dream Syndicate), Jeremy Gluck (Barracudas), Jim Duckworth (The Gun Club), Billy Zoom (X), Keith Morris (Circle Jerks, Black Flag), Bob Bert (Chrome Cranks, Pussy Galore, Sonic Youth, Five Dollar Priest), Hugo Race (Nick Cave And The Bad Seeds), Peter Aaron (Chrome Cranks), Dave Graney (Moodists), Tav Falco (Panther Burns), Dan Stuart (Green On Red), and more.
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LP
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BEWITH 005LP
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2025 restock! Be With Records present the first ever officially licensed reissue of Ned Doheny's Prone, originally released in Japan only in 1979. Aficionados rate Ned Doheny's Prone as his finest achievement. This sophisticated masterpiece has been unavailable on vinyl for over 35 years, so Be With Records pressed it on audiophile 180 gram vinyl and restored the original Japanese artwork for both jacket and classic lyric-insert. Featuring the superior full-vocal version of "To Prove My Love". Ned Doheny's crowning glory, even better than the superlative Hard Candy (1976). So quite why this AOR/soft-funk gem has not been available legitimately on vinyl for over 35 years is anyone's guess. A forgotten-funk classic. What makes this release truly special is the inclusion of the full-vocal version of jazz-funk classic "To Prove My Love". It's what you've all been waiting for. Produced again by the legendary Steve Cropper, Prone's super-smooth grooves showcase Ned's beautifully laid-back vocals, virtuoso playing and forever-wry lyricism. Aside from "To Prove My Love", it boasts some of Doheny's most under-appreciated tracks: witness the slickness of "Think Like A Lover", "Guess Who's Lookin' For Love Again", and "Funky Love". 180 gram vinyl; Features the original artwork for both jacket and lyric-insert.
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LP
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BT 128LP
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Legendary New Zealand-born experimental composer and sound art pioneer Annea Lockwood returns to Black Truffle with On Fractured Ground/Skin Resonance, her third release for the label. Having recently celebrated her 85th birthday, Lockwood shows no sign of slowing down in her exploration of new sound sources and collaborations with an ever-growing intergenerational pool of performers -- here with Vanessa Tomlinson. Her creative vibrancy is alive as ever on the two recent works presented here, which demonstrate both her engagement with the social dimensions of sound and the deeply reflective, meditative aspect of her art. "On Fractured Ground" derives from material recorded with Pedro Rebelo and Georgios Varoutsos for the soundtrack of Maria Fusco and Margaret Salmon's opera-film, History of the Present (2023). Working together in Belfast, Lockwood, Rebelo and Varoutsos made extensive recordings of the city's "peace lines," the dozens of walls erected since the beginning of the Troubles in the late 1960s to separate Catholic and Protestant areas of the city. Continuing to work in her studio with the material collected for the soundtrack after its completion, Lockwood composed the work presented here, occupying a space somewhere between her own extended-technique percussion music and the Cagean tradition of hyper-amplified small sounds. "Skin Resonance" is a collaboration with Australian composer and percussionist Vanessa Tomlinson. Developed through conversations in which the two discussed the idea of "sonic attraction," the piece focuses on Tomlinson's relationship to the bass drum, reflecting on the complex web of connections embodied in this seemingly simply instrument, which is at once "animal, wood, and metal." Approaching the instrument in a suitably elemental fashion, Tomlinson's performance strips away conventional technique to explore the resonance and timbral properties of skin, drum, and metal hardware, producing overlapping waves of texture that at times seem closer to wind swishing through leaves or the ocean than anything usually associated with a drum. Emphasising the symbiotic relationship between performer and instrument, Tomlinson's voice is heard at times, exploring the field of associations and connections the bass drum suggests to her. Accompanied by insightful liner notes on both pieces and photographs documenting the recording of "On Fractured Ground" and a performance of "Skin Resonance," this LP is a moving testament to the engagement, generosity, and openness that sustain Annea Lockwood's work, still finding new directions after more than fifty years of activity.
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LP
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BFR 040LP
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"Set controls for the infinite expanse with staggering new epic Astral Voyager from KAL-EL. Formed in Stavanger, Norway in 2012, KAL-EL established themselves as a unique force in the international heavy underground, blending Scandinavian desert-style rock, classic metal, psychedelia and doom elements with ambitious sci-fi themes. After a profuse series of mind-expanding journeys through spacetime (five albums and three EPs from 2013 to 2023), the band are back with the most significant milestone in their multi-dimensional journey yet. Astral Voyager Vol. 1 tells the saga of intergalactic bounty hunter Mica, who trades in taking down the scum of the universe while dodging The Nine, a control-obsessed consortium that seeks to dominate her as they do the rest of the cosmos. Traveling and bringing in her marks, Mica's journey is a story of hope, individuality and searching for meaning in the unknown. Presented in two volumes during 2025, the Astral Voyager double album is the strongest realization of KAL-EL's signature sonic approach to date. Full of downtuned grooves, soaring anthems and vintage sci-fi aesthetics, it's an explosion of contagious fuzz-blues from Scandinavia's prolific and impressive masters of starfaring heaviness!"
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LP
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BB 336LP
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2025 restock; LP version. "Martin Rev's fourth solo album See Me Ridin' was released on the New York label Reachout International Records (ROIR) in 1996. Received by the critics with amazement, it proved to be a watershed moment in his career. Journalist Neil Cooper wrote at the time: 'When I first heard Rev's new record, I was taken aback. Was he serious? Was this some inside joke? He had to be kidding -- or was he mentally over the top!' Its reception echoed that of the 1992 Suicide album Why Be Blue, which sprung such a surprise on fans of the duo comprising Martin Rev and Alan Vegas. On this particular solo album, Rev repeated the trick of dispensing with rough, brittle sounds. This was not Rev seeking to distance himself from his musical origins, he was actually getting back closer to his roots. Signs of Martin Rev's formative influence as an electronic music pioneer can be seen in many places. Virtually no one would have expected him to deliver a doo-wop album, but in the light of Rev's socialization and artistic tradition, it reflects a logical process of absolute reduction. Martin Rev crafted See Me Ridin' as a kind of power pop hybrid, an album which owed much to the R&B and doowop of the 1950s and 1960s; the music which a youthful Martin Rev heard on the streets of New York, the soundtrack to his teenage years which had such an intense effect on him and would resurface in his own works. Nowhere more so than here. The instrumental foundations of these 16 tracks are built on rudimentarily sketched melodic arches, outlines rather than fully defined structures, yet all the more forceful for that. As if the full potency of an R&B band has been distilled into minimalist keyboard compositions. Martin Rev's vocals are as minimal as they are sentimental, wonderfully poetic like a latter-day Chet Baker perhaps, or Jonathan Richman. This solo album not only blindsided Rev's critics and fans alike, but also painted a personal, nostalgic portrait of his home, New York; fading out the noise and contradictions of the city to channel the romantic energy of the metropolis." --Daniel Jahn, May 2020
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LP
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BSR 960R-LP
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"Dennis Brown was the people's choice, Jamaica's most popular singer, for over twenty-five years. It is next to impossible to put into words his standing within the world of reggae where he was adored by the public and emulated by other singers in equal measure. This release features a faultless selection of tunes from his all-conquering years with Niney The Observer augmented by two classic tracks from 1972, Black Magic Woman and Let Love In, for Phil Pratt. Listen to, and enjoy, the music of one of Jamaica's greatest ever artists."
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12"
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DKR 302EP
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"Previously unreleased; four track 12" with two different vocal takes, each with dub. Comes in Bond Export company sleeve. Another cold case solved! One of DKR's early victories was finding a tape of the drum and bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When the label first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. There were two mysteries at work here -- one, confirming the identity of the group, and two -- finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK Sound Business documentary film from '81. In the course of a mere 13 years, both questions came to be solved ? Digikiller obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins, and Paul Mitchell. 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic."
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7"
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DKR 303EP
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"Previously unreleased mixes. Part 2 of Digikiller's 1980 Taxi showcase, and it's heavier than the first. Here is one of Sly & Robbie's most loved productions, in its initial raw dubplate form. In August 1980, this raw cut of the haunting lovelorn classic first started to make its way out there on dubplate, in this spare, cavernous heavy mix without the synthesizer and syndrum sounds that would eventually adorn the final released mix. As tapes of these type of early mixes made for sound systems more often than not were not saved or archived, the label is overjoyed to have located this one and brought it out. Like the previous Viceroys Taxi releases, this is some of the heaviest music of its day, in its pure initial form like you would have heard Shaka or other serious sounds playing thru the end of 1980."
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7"
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DKR 311EP
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"Both sides previously unreleased alternate takes/mixes. This is a top five all time tune in the soul reggae canon and maybe Leroy Smart's best ever. An early one for Mr. Smart, this is the first cut of one of his most classic tunes, recorded in 1972 for producer Gussie Clarke and originally released on the early Tuff Gong label via Wailers' associate Alan 'Skill' Cole. This alternate vocal take is the one partially used for the 1979 remix cut on a heavily overdubbed rhythm. In comparison to the original released cut, it's a more spare take sans the opening harmonizing, and the lyrical changes give the tune a more pleading and less stubbornly declarative mood. For the B-side version comes an alternate mix again, which is actually the one Big Youth deejays over for his tune 'Pride & Joy Rock.' Consider this release a prime example of DKR's 'never too much of a great thing' philosophy."
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7"
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DKR 312EP
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"Killer previously unreleased mid '80s Tetrack tune finally out on road. Astute dubplate fiends may have heard this played by Rodigan back in the day, and others may know the Mighty Diamonds' later recording of the song. But the original cut is this one, written by Carlton Hines and performed by his group, the great Tetrack. Here it is in pristine quality straight from Gussie Clarke's master tapes, and mixed faithfully in style to the original dubplate cut, by Music Works' associate Curtis Lynch. Comes on the lovely 'Dubwise Made in Jamaica' version of the Music Works label, which was used exclusively for dubplates cut at Gussie's original studio back in the early to mid '80s."
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12"
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DKR 316EP
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"A-side previously unreleased single mix with dub. B-side previously unreleased 2024 re-mix with instrumental cut. Comes in Wackie's company sleeve. The late great Milton Henry was a stalwart of Wackie's studio in the early '80s, and his album Who Do You Think I Am? remains one of the jewels in the Wackie's canon. The A-side features one of the best tracks from the album, in its previously unreleased single mix, matched with its unreleased dub cut. The B-side features a new 2024 remix of 'Make It Right,' a mid '80s tune we recently featured on the Digital Dawn compilation. Mr. Barnes is still hard at work in the Bronx producing, editing and mixing, and after revisiting this song in 2024, he liked it so much he had to touch it again. This new mix features a great horn part from Wackie's mainstay Jerry Johnson, who takes center stage on the instrumental/dub mix that follows the vocal."
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LP
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DC 702LP
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2025 repress. "1995: new composition methods involving the dirty textures of rock guitar, a synthesis of disparate elements -- a nexus where Alvin Lucier, Sonic Youth, My Bloody Valentine, and Eno blend together. A prescient vision of the next phases of listening space. CD version originally released in1998 on Dexter's Cigar."
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Cassette
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DC 860CS
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Cassette version. "Years past the space time of Automaginary, Bitchin Bajas and Natural Information Society have reported back at last from beyond. If the new title doesn't clue you, Totality brings good news. Since their first collaboration, the path ways that lead from Natural Information Society's ecstatic all-world jazz to Bitchin Bajas' microtonal soundscapes have grown ever finer in their articulation. Across the spectrum, the septet balance a deeply searching mood with wonderfully in-pocket production feel. This makes for collective aural transport of the highest order to all those listening in. In the time since their 2015 first convergence, the Natural Information Society have released four albums (one in collaboration with Evan Parker, one with Ari Brown) and Bitchin Bajas five (one a soundtrack, one with Bonnie 'Prince' Billy, one featuring the songs of Sun Ra). Given the multivarious paths both groups have traveled, it makes sense that their second convergence seems to emanate from centuries, eons beyond or below -- some undefinable elsewhere -- from their first. Totality is that. These days, Natural Information Society is populated differently. From the sextet NIS that co-created Automaginary, Joshua Abrams, Lisa Alvarado and Mikel Patrick Avery remain. In the stead of the departed former players is Jason Stein on bass clarinet. This might account for some mere impression of aspects of time, space and evolution to be found here -- but then again, Bitchin Bajas flow on in their long-standing trio configuration (Cooper Crain, Dan Quinlivan, Rob Frye), so the 'people in the room' theory of how Totality ever got this way will only take us so far. Recorded in a single day with Greg Norman at Chicago's Electrical Audio, then slowly considered into the finished record we hear here, Totality is a sweet-tempered second child. It experiences time in ways the first kid didn't. If you're in it for slow-shifting trance formations, it's gonna be cool. There's lots here for you, lots of simmering time and synth atmospheres dappled with radiant woodwinds -- but there's some head-snapping hypno-rhythms that stand apart from the groove energies of the first one. It's just natural facts: two different days in time separated by years, with the experience of several live encounters between the two groups in between. Beyond that, only the music can say anything else. That said, here are a few thoughts from this listener's log... The low-key revolutionary thump of 'Nothing Does Not Show' and 'Clock no Clock' notwithstanding, Totality charts impressive new launch angles from NIS & BB's improvisatory heart, with their careful listening and response time continually redefining the space in a relaxed manner that rewards deep zoners. Additionally, their blended corps assimilate marvelously on Abrams' composition, 'Always 9 Seconds Away.' Here, and with the aforementioned groovers, the collective resonates beyond familiar kraut/spiritual/minimal power lines, bringing new time conceptions to bear in the always-expansive space of this album event. It's about time we got back to the singularly-divined space of Natural Information Society & Bitchin Bajas with Totality. That's the best way to way to define this new music -- it's about time."
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EFFICIENT 043LP
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Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers' radios humming with the summer test cricket season. Through this agricultural haze an image of a working vineyard emerges -- ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string. A caricature of Australian viticulture, Legends is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.
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3CD
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ECLEC 32771CD
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2021 release. "Third Ear Band was one of the earliest signings to EMI's Progressive imprint, Harvest Records. The band was formed in 1968 around a nucleus of Glen Sweeney (percussion), Paul Minns (oboe), Richard Coff (Violin, Viola) and Mel Davis (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones, and Blind Faith. Their debut album, Alchemy, released in July 1969, was championed by legendary DJ John Peel and is regarded as one of the most striking and original works of the era with its unique gothic improvisational music. The band's self-titled second album was released in June 1970 and saw Ursula Smith replace Mel Davis on cello. Third Ear Band gained good reviews in the underground music press, but the group was always fluid with their line-ups and Ursula Smith and Richard Coff departed the band in September 1970 to be replaced by Ben Cartland and Paul Buckmaster. Cartland soon departed and Denim Bridges was recruited on electric guitar along with former High Tide member Simon House on violin and VCS 3 synthesiser. This line-up of the group was approached by film director Roman Polanski to write and record the soundtrack to his gritty film adaption of Shakespeare's Macbeth. The darkly evocative and eerie music of Third Ear Band fitted perfectly with Roman Polanski's cinematic vision of the acclaimed Shakespearian drama which starred Jon Finch, Francesca Annis, and Martin Shaw. In March 1972 the soundtrack album Music From Macbeth was released on Harvest, but it would be the band's final album. Mosaics: The Albums 1969-1972 gathers together the three Third Ear Band albums released by Harvest in a clamshell box and is the ideal introduction to the band and their uniquely haunting and evocative music."
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Book
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9781878972446
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Paperback. 480 pages. "The legendary French filmmaker's labyrinthine memoir, first published by Exact Change in 2002 as a CD-ROM, now reconfigured into book form after a laborious process initiated by the artist before his death in 2012. Filmmaker, photographer and writer Chris Marker never adhered to the conventions of a particular art form. Each of his films, from La Jetée to Sans Soleil, pushes the boundaries of its medium, merging at times with the essay, political manifesto, personal letter, art installation and even, finally, a computer game. For Immemory, first published in 1998 (French) and 2002 (English), Marker used a CD-ROM to create a multi-layered, mixed-media memoir. The reader investigates 'zones' of travel, war, cinema and poetry, navigating through image and text as if physically exploring Marker's memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our era. With it, Marker both invented a literary form and perfected it, just before the digital format he chose for the experiment was quickly rendered obsolete. Immemory: Gutenberg Version reinvents this unique work for the printed page, a project the author dreamed up, titled, and began working on with Exact Change before his death. Now finally realized, it brings this seminal work into the present and future through a time-tested, durable format of the past: the book. Chris Marker (1921-2012) served in the French Resistance, and then the US Air Force, during World War II and worked as a journalist while honing his film career. He received international acclaim with La Jetée in 1962, and became a critical voice in film theory and production as well as a widely admired 'cult' artist, a filmmaker's filmmaker."
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12"
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FAUXPAS 033EP
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Silk-screen-printed sleeve. Max Lessig's journey started in the north of Germany. He travels the country and is gaining followers by the minute. Adapting styles as he pleases never losing his clear vision, he is offering five new messages on Halo EP. Ready-made for wide, open fields -- magnetically attracting hands towards the air. Praise the prophet, he brings nothing but pleasure and good vibrations.
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LP
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FIELD 036LP
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Exploring the water engineering relationship between Japan and the Netherlands across a trilogy of experimental releases, the third and final part of Field Records' Waterworks series is courtesy of Yui Onodera. Pairing delicate synthesis and instrumentation with field recordings and negative space, the accomplished artist and sound architect examines the impact of water engineering on Japan's Kiso Three Rivers. The location refers to the confluence of the Kiso, Nagara and Ibi rivers on the Nōbi plain in Gifu prefecture. In the late 19th century, Japanese authorities collaborated with Dutch engineer Johannes de Rijke to separate the three rivers at the lower part of the Kiso delta. These extensive improvements, which were finalized in 1912, successfully shielded the city of Nagoya from regular flooding. Onodera's minimalist palette and detailed approach to spatial sound design balances microscopic field recordings and tonally-rich traditional instruments, which he applies with stark focus to the subject of the Kiso Three Rivers across eight extended pieces of music arranged into two distinct parts. The A side's shorter tracks are delicately sculpted miniatures interweaving chiming bell tones, treated guitar impressions and hushed pads. The B side's two longer suites are more overtly minimal in nature, emphasizing sampled water sources accented with patient brush strokes of synthesis. This project is supported by the Embassy of the Kingdom of the Netherlands in Tokyo, Japan.
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2LP
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FIELD 037LP
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Twenty-four years on from its original release, Monolake's seminal Gravity receives its first vinyl pressing courtesy of Field Records. Occupying its own space at the intersection of dub techno, minimal and electronica, it's an ageless album of staggering vision and technological prowess which has matured into an all-time pillar of electronic music. This edition, remastered by the album's key architect Robert Henke, follows on from the reissue of Monolake's first album, Hongkong. Arriving just after the turn of the millennium, Gravity marked a turning point for Monolake. With co-founder Gerhard Behles moving on to other ventures, Henke produced most of the album solo and journeyed deeper into spatial exploration and the dub-informed principles that underpinned their project from the start. Minimalism and negative space run through the whole record, from the keen slithers of percussion pinging through lattices of delay to the hypnotizing pulse of subliminal basslines anchoring the tracks. Gravity is a record which hangs on techno's linearity as a form of meditation, but the crystalline clarity of the mix allows every micro-fluctuation in rhythm and sound to cut through. Compared to a lot of overly sterile digital music released in the early 2000s, Gravity endures thanks to the warmth and texture Henke elicited from his processes -- even when leaning into none-more-digital effects like bit reduction. He described the ninth-floor view over Berlin from his studio at night as a key influence on the sound of the record, but the space Gravity shapes out feels thrillingly implacable. Unbound by the standard conventions of time and space, Gravity stands proud as a true original and finally gets the ceremonious vinyl pressing it so richly deserves.
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LP
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CNMDDV 012LP
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Following the release of the single "Maqlab," the Marseille-based duo Caïn و Muchi presents their debut full-length album Dounia (دنيا). This takes listeners on a journey through a rich tapestry of industrial gloom woven of dubstep, grime, and contemporary hip-hop. In this album, these "labels" matter as much as they don't, given the heavy mutations they undergo, in a "That's Hara Kiri" fashion (RIP Sd Laika). At the heart of this record lies a dense yet harmonious sound palette, featuring meticulous vocal processing of lead singer Vanda's voice, which engages reflection on their shared and individual lives. As the album progresses, the lyrics reveal layers of stress and trauma linked to colonial experience, intertwined with multiple references to North African ghost stories and legends. The result is a resonant experience, where the wraithlike and glacial instrumentals crafted by the duo encapsulates the introspective act of witnessing the turmoil of our current world. Featuring Assyouti.
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LP
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HHLTS 003LP
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Valentina Goncharova's work encapsulates a unique blend of innovation and tradition, providing audiences with an enthralling exploration of the vast possibilities within musical expression. Drawing upon her compositional skills honed during her academic studies, Valentina expertly manipulates the violin, seamlessly integrating it with synthesizers and drum machines. The result is a mesmerizing fusion of organic and electronic elements, characterized by slow, pulsating drone soundscapes.
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LP
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JPR 107LP
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Repressed. "In 1962, legendary jazz pianist Bill Evans collaborated for the first time on record with jazz guitarist Jim Hall to create the landmark album Undercurrent. And even though it is a two-person improvisational affair, it is almost unfathomable that these two giants alone fill up all the grooves on this record. The thoughtful interplay between these two musicians created such a beautiful, lush, and emotional journey that their work influenced many. At the time of this recording, Bill Evans was one of the top jazz pianists (his performance with Miles Davis on Kind Of Blue is still a high-water mark), but he had stopped performing and recording after the death of his peer, bassist Scott LaFaro. Eventually, he was persuaded to return to music, and this was one of the first recordings upon his return. Guitarist Jim Hall -- who had worked with Ella Fitzgerald, Sonny Rollins, and Chico Hamilton -- started his partnership with Evans during this time. Recorded over two sessions in April and May 1962, the two have that beautifully unspoken musical language of give and take; their recordings are refreshingly busy but also incredibly sparse. These two giants understand that intertwining their personalities and harmonic styles could create greatness. This notable re-issue is an all-analog production affair -- AAA Mastered and cut live by audio guru Kevin Gray (Miles Davis, Herbie Hancock, Charles Mingus) -- and it's never sounded better."
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LP
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JL 065LP
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"Ten-song showcase LP. Five vocals, five dubs. Five tracks previously unreleased. New showcase LP collecting a couple long requested classics coupled with a trio of rare and previously unreleased heaters from the early '80s Roots Radics era. This new LP now makes a trio of classic albums along with his What's Wrong With the Youths and Chip In albums for Jah Life and Junjo Lawes. In a beautiful sleeve with the vibes of the time, designed by the great Seen Studio."
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12"
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KOM 494EP
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Robson Ponte isn't just anybody. He is the namesake of Reinhard Voigt's first Kompakt 12", one of the label's first big hits. Timeless, cool and unforgettable, the way this snotty, dry football field beat pushes you forward, over it, this constant, almost stoic, mantra-like rap repetition. That was a good 25 years ago. So it's high time to celebrate a bicycle kick with a fitting run to the goal. None other than FC Kompakt center-forward Juergen Paape has been hired for the remix return match. In the first few minutes of the match, Paape scores with two straight disco-techno crosses! Team captain Reinhard Voigt himself seamlessly follows in the footsteps of the original -- dressed in a new, stylish black, white and red sound jersey, he keeps the ball in play with aplomb. From the stands, guest of honor Thore Pfeiffer comments on a hymn-like, sacred ambient lament with an appropriate timbre. Including art print of the sleeve artwork by Mareena von Cube.
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