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viewing 1 To 19 of 19 items
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CD
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AGARIC 1984CD
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2026 restock. Recorded on October 13, 1984 at Rote Fabrik in Zurich, Switzerland. Originally released in 1985 as a double LP. "What is best about Sauter, Dietrich and Miller is that they are playing what jazz should be and not just emptying the tradition through some plastic-sounding fusion of jazz as a 'universal language.' They expand the frontiers of the trance-state without resorting to formulaic repetition and take the expressiveness so natural to jazz to new heights, turning over the conventions common to European improvised music. In short, they are a cleansing experience and force us to readjust our ears to a new sonic landscape. Borbetomagus is one of the best things to come out of the United States in a long time" --Gustave Cerutti, Editor; Jazz 360° No. 73, November 1984. Borbetomagus is: Donald Miller (guitar, alto saxophone), Jim Sauter (tenor saxophone, alto saxophone, baritone saxophone), and Don Dietrich (tenor saxophone, alto saxophone, guitar).
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BTR 135LP
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Kronstad 23 return with Dødehavet, the Norwegian quartet's third album and first release on Batov Records. Continuing their instinctive, analogue-led approach, the record sits between cinematic jazz and psychedelic rock, threaded with Scandinavian folk and wider global influences. Recorded live to tape with minimal preparation and no modern studio intervention, Dødehavet captures a band working on feel, interaction and momentum rather than polish or precision. Despite living at opposite ends of Norway, old friends Øyvind Arnodd Vie Berg (keys), Alexander Tøsdal Tveit (guitar, sitar), Eirik Rømcke (bass) and Hans Christian Dalgaard (drums, percussion) conceived the album almost casually, sketching the idea of a reunion over a drink before committing quickly to writing and recording. Sessions took place at Berg's home studio in Bergen, with the quartet working fast, relying on intuition and shared musical language rather than extensive rehearsal or postproduction. On Dødehavet, Kronstad 23 lean more decisively towards groove and collective propulsion, expanding their palette without sacrificing the immediacy that defines their sound. While still largely recorded in single takes, the album is given added heat by contributions from saxophonists Håvar Skaugen and Inge Weatherhead Breistein. Recorded with all four core musicians playing together in the same room, Dødehavet avoids sterile production in favor of a raw, direct sound. Most pieces were captured in one or two takes using a 50-year-old mixing console and tape recorder, deliberately resisting contemporary studio techniques to preserve a timeless, lived-in character. Influences surface organically rather than through rigid composition. Kronstad 23 operate with a deliberately low-pressure dynamic. The quartet meets only a handful of times each year and rarely rehearses in a conventional sense, instead trusting shared instincts and keeping structures loose. The project's name nods to Afrobeat-era band naming conventions, with "23" marking the year the project came into focus and Kronstad referencing the Bergen neighborhood where the group's first sessions took place. While Afrobeat is only one strand in their sound, the name reflects openness rather than fixed identity. At its core, Dødehavet is about process rather than statement -- music shaped by listening, restraint and collective momentum. Jazz, soul, folk, Afrobeat, rock and raga merge into a single, unforced language, captured in real time and left largely untouched. FFO: Gábor Szabó, Amancio D'Silva, Mulatu Astatke, Soft Machine, Surprise Chef, Menahan Street Band, Ikebe Shakedown, El Michels Affair, The Sorcerers, Sababa 5, Ill Considered, Tommy Guerrero, Glass Beams.
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BCM 9626CD
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Beat Records reissues the soundtrack by Ennio Morricone for the drama film La Scorta, directed in 1993 by Ricky Tognazzi, with a screenplay by Graziano Diana and Simona Izzo. Ennio Morricone is no stranger to the noir and crime genres. It was only natural for Morricone to continue his collaboration with Ugo Tognazzi's son Ricky, director of La scorta. At the time, Morricone prepared a 21-track assembly with a running time of approximately 49:21, derived from the stereo masters tapes of the original session. That material was first released on the premiere CD release and reissued in 2000 on CD and on vinyl. Thirty-two years after the original CD release and twenty-five years after the CD reissue, this thrilling soundtrack returns to the market on CD. To illustrate the drama and violence of the story, Morricone composed a soundtrack that draws deeply from his well-known sounds from the films of the '70s. This CD is truly essential for any collection dedicated to the musical genius of the immense Ennio Morricone.
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LP
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BB 058LP
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2026 repress. 140-gram LP. Cluster's self-titled debut was originally released by Philips in 1971; this edition is the first reissue to restore the track running order of the original Philips release. Includes liner notes by electronic avant-garde pioneer Asmus Tietchens. In 1998, The Wire listed Cluster's self-titled debut as one of "100 Records That Set The World On Fire (When No One Was Listening)." Very few albums from Germany can lay claim to this honor. Cluster is a monster; it contains a mere three untitled tracks and was quite an ordeal for untrained ears when it was released. Yet the album pointed the way forward like no other electronic opus. Cluster's previous incarnation was a trio called Kluster. A change in direction and musical differences moved Dieter Moebius and Hans-Joachim Roedelius to split from the group's third member, Conrad Schnitzler, in 1970. The following year, in addition to playing live, they recorded their first album in publisher Ralf Arnie's Star Musik Studio in Hamburg. Here they first met Conny Plank, who would himself become a legend. They remained close friends until Plank's death in 1987. Early Cluster music was new. New in the sense that it did not continue any tradition, instead laying the foundations for a future tradition. The duo's utter renunciation of conventional harmony and rhythm, embrace of near total aural abstraction, and confident use of noise, rigorous live electronic improvisation, and a positive mindset were all factors in Cluster's innovative trailblazing of 1971. For want of a better category, Cluster was classified rather inappropriately and incorrectly as "cosmic." Few recognized Cluster for what it was -- a synthesis of pop music, stripped of embarrassing glamor, and so-called serious music without intellectual constraints. Moebius and Roedelius took the liberty of raiding both disciplines to perfect their musical concept. A common enough practice today, but akin to a palace revolution in 1971. So it is that three pieces of electronic music meander and pulsate through Cluster, with no beginning and no end. Cluster's music is free and open in all directions. There are sounds, noises, and structures to be heard on this album that would become ingrained in the electronic pop music of the 1980s and 1990s. Cluster had taken the first step into the future.
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LP
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DC 618LP
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2026 restock; LP version. "The tone of the guitar and Sir Richard's gentle, loving touch with it hold forth from the first moment of Tangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick's all over the neck in the early going while sorting through the dynamics of the instrument -- in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! Towards the end of the first side of Tangier Sessions, Sir Richard and guitar begin to chill out and cut loose in a different way -- arriving in the moment that was imagined for them, they stretch out, finding themselves in open space with fewer changes. This is a place where a player like Sir Richard Bishop can relax while remaining totally focused and present, hearing what the guitar and he are capable of in real time. The discoveries of side one give way to the trilogy of songs that comprise the second side, and the issues presented by 'Mirage' are revisited from another angle, another spot on the map in 'International Zone,' leaving finally a sense of journey completed in the serene moments of 'Let It Come Down.' The narrative that builds as a function of this (noble)man-guitar dialogue gives Tangier Sessions a visceral punch that makes for a singular listening experience, even in the crowded realm of solo acoustic guitar albums. Nobody plays the guitar like Sir Richard Bishop -- and on Tangier Sessions, he's found a guitar that nobody but him plays either."
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2LP
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FAITBACK 009LP
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2026 repress. Twenty years ago, Jan Jelinek's debut album Personal Rock was released by Source Records (1999). Under the pseudonym Gramm, it brings together eight tracks that have not been available on vinyl since their original release. Faitiche presents the re-release of the album: Personal Rock will appear as a double-LP, featuring the original cover artwork. Includes download code.
What people wrote about Personal Rock two decades ago:
"Situated somewhere between Jelinek's much loved Loop-Finding Jazz Records, Farben, Move D's Conjoint project and Atom Heart's most immersive work for Rather Interesting, it's a late night album full of subtle production tricks and melodic house structures that belong to the pre-millennial IDM heyday, but which transcend its overly-masculine templates." --Boomkat
"A serene little masterpiece." --De:Bug
"Though many producers have pushed forward the clicks-and-cuts style of experimental ambience developed by German experimentalists Oval (among others), few have been able to match their knack for making abstract cuts into pieces of undeniable beauty. Jan Jelinek's first LP as Gramm is one of the precious few, and it's obvious from the opener." --AllMusic
"Organized in organic structures and minimal movements, the tracks get into utopian states and super-desirable moods, offering superior contentedness and dependable taste of the kind seldom sustained for a whole album. (...) Subway-Escalator-Soul." --Spex
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LP
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FTR 828LP
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"Another mind-blasting slab from the band that emerged from the exquisitely raw chaos of Up-Tight. Guitarist Aoki Tomoyuki, who founded and led Up-Tight from 1992 to 2024, is one of the prime exponents of Japanese string-based underground insanity. His approach combines the psychedelic flow of White Heaven's You Ishihara with the scuzz-dynamism of High Rise's Munehiro Narita and the experimental distentions of Fushisusha-era Keiji Haino. Up-Tight's records were all sold blurts of N Generation Japanese freak logic, and that tradition has been continued by the Tomuki Trio. Their first two albums, Mars (on Riot Season) and its follow-up Shitsuren, were both boiling cauldrons of axe-smoke, with tunes that wandered through dizzying array of styles and moods, all of them underlaid with a splendid sense of utter disorientation. And that continues on album title. Even when the trio slows down into riffs that 'plod' in the tradition of the Stooges' 'We Will Fall,' they manage to infuse the air with shreds of sonic karma that refuse easy categorization. The way they balance the overload of their sound is definitely in the tradition of Japanese underground guitar noise of the past 35 years, but the Tomoyuki Trio seems bent on destroying the boundaries that have usually separated their precursors into distinct categories. They demand all access to all styles at all times. And the success of their attack on extant generic norms is abundantly clear throughout this album. It's an insane spin, and one I've been playing more or less non-stop for the past week without tiring of its inventions or becoming inured to the complexities of its sonic architecture. Album title is jam-packed with beautiful surprises for anyone who has the ears to hear it. Let us hope that cohort includes yourself." --Byron Coley, 2026
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2CD
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HT 019-20CD
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Electro-Anâhata (1986-1994). Fully electro-acoustic version of "Anâhata" realized on Jean-Claude Eloy's personal computer from the original electro-acoustic recordings of this work. Electro-acoustic works of a contemplative nature. Electro-acoustic parts alone of Âhata-Anâhata (struck sound -- unstruck sound) including a new unreleased part. Electronic music studios where the original "Anâhata" was produced (1984-86): Studio of the Sweelinck Conservatory of Music, Amsterdam (1984 and 1986), the entire production (pre-recorded material processing, new material generation, premixing) and all final mixing processes; Tokyo-Gakuso studio, Tokyo (1983): for the Shô and Ô-Shô (traditional mouth organs from Japan) sampling with Mayumi Miyata. Conny's Studio, Neuenkirchen, near Cologne (1984) with Asian Sound and Michael W. Ranta: metal percussion instrument sampling, including Bonshôs (Buddhist temple bells from Japan) sampling.
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CD
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HT 021CD
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Galaxies (Warsaw version), electro-acoustic alone. Fully electro-acoustic version of "Anâhata/Galaxies" realized on the composer's personal computer from the original electro-acoustic recordings of this work. Jean-Claude Eloy: "In 1994 I had (for purely practical reasons) to remove these big electro-acoustic parts making up the two 'Galaxies' works from the piece they were connected with until then: Part III of my Anâhata cycle, entitled Nimîlana-Unmîlana ('that which awakens -- that which slumbers'). An electro-acoustic work integrating instrumental acoustic parts that required the performance of a Shô player from Japan. Those electro-acoustic parts were substantial enough to warrant a new configuration ensuring their stand-alone nature, independent of whether a performer was available or not. Therefore I used (apart from the two 'Galaxies') a set of particular sounds that I had generated during that production (all of them resulting from Shô sampled sound processing and modulations) entitled 'sons d'infinitude' ('sounds of indefiniteness'). These sustained sounds were very fixed, quite contemplative, almost motionless or maintained through short fluctuations that were more or less regular. They were five of them altogether. Four of them were grouped together into a consistent set and occurred after the first Galaxy, before the Shô solo. I had used them to compose a sequence called 'Awakening,' which formed the first Shô appearance in the version realized for the Donaueschingen Festival in 1990. The fifth one took place at the end of the second 'Galaxy' and was used to support the conclusion played on the Ô-Shô. In this purely electro-acoustic version the first four 'sons d'infinitude' came quite naturally as a 'bridge' between both Galaxies. The fifth sound kept its conclusive place, making it bigger and using it as a genuine 'extension sound' that could be infinite, with no limit!"
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HT 022CD
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The Ring of the Seven Lights (Metametal, long version, 1994-95). Revision and new master (2013). Seven continuous variations from a single Bonshô sample (Buddhist temple traditional bell from Japan), a tribute to Inayat and Vilayat Khan. Jean-Claude Eloy: "I created and partially realized it in 1994-95 during this conversion of 'Anâhata' into an electro-acoustic version alone. I first made a short version out of it which integrated into 'Electro-Anâhata' and became the fourth station within the first part (around 'Âhata-Anâhata'). It was an entirely new part that had never been realized during the final mixing of the original Anâhata cycle."
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CD
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HT 023CD
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Borderlines or Petra's Shouts. Songs for the other half of the sky N°VII" (2013). After some reissue or first editions of old compositions, here's a brand-new composition from Jean-Claude Eloy. Made mostly with voice, bells and synthetic sounds this piece works like an electroacoustic lightning.
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2CD
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HT 024-25CD
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Le minuit de la foi ("The midnight of the faith") (2014) for electronic and concrete sounds, around selected sentences by Edith Stein recorded by German actress Gisela Claudius. New work from Jean-Claude Eloy, a long piece under the power of expanded sounds and sacred words. Le minuit de la foi is a double album, each CD of which forms a stand-alone entity. Each CD can therefore be listened to separately. However, you do need to listen to the full album for it to become meaningful through its complementary balances, and to grasp its very essence.
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LP
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ITR 254LP
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2026 repress; clear blue/black swirl vinyl. "Fuzz is Ty Segall (drums/vocals), Charlie Moothart (guitar/vocals) and Roland Cosio (bass). They're heavy rock lifers -- three California bred dudes who have been refining their riffs and getting weird together since high school (which wasn't that long ago, actually). If you are not already aware of Segall, well, what's up? He's one of garage rock's most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early '00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, 'This Time I Got a Reason' (Trouble In Mind) and 'Sleigh Ride' (In The Red). Around the time of the latter, Cosio joined on bass. They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band's self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on 'Sleigh Bells' you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle. Maybe you'll even glimpse the ghost of Australian guitar legend/sharpie guru Lobby Lloyde sniffing around 'Raise.' The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It's a record for the burners."
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LP
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JPR 056B-LP
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"Jackpot Records presents the triumphant return of Land Of The Lost, the Wipers' fourth LP, to the Wipers re-issue catalog. This time, the label even lovingly recreated the locked groove at the end of side one (mimicking the original LP), and Chris Newman's original, cryptic artwork still radiates from the album cover in the same way it did on its initial release in 1986. With Greg Sage's distinctive vocal pleas and his crunchy, swirling guitar riffs, Land Of The Lost feels heavier than anything the Wipers had attempted up to that point."
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LP
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MR 398LP
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2026 repress. Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's, and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists exploring baroque pop, psychedelic rock and early prog. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career transcending their starting point, in which they'd simply record covers of artists such as Jimi Hendrix, Cream, or The Young Rascals, moving on to the more mature sound of their first LP with self-written songs, Virgin (1969), a masterpiece of Latin rock, and this second self-titled LP, released in 1970. Traffic Sound incorporates here complex arrangements and long song structures with which they approach prog music. However, the immediacy of songs like "Yesterday's Game", with a fierce and contagious guitar riff, or "Chicama Way", a terrific anthem, clear any possible doubt about the sound principles of the band: groovy rock. While tracks such as "Those Days Have Gone" or "America" show the friendliest yet psychedelic side of the group, "Tibet's Suzettes", the opening song of the album, simultaneously introduces all the ingredients of the Traffic Sound recipe: hypnotic rhythms, untamed guitars, and very skilled playing. Although some influences cannot be ignored, this second Traffic Sound album is huge and deserves to be considered one of the greatest recordings of its time, even internationally, as essential as the most hailed works of Cream, Caravan, or Led Zeppelin that served as a bridge for rock music between the '60s and '70s. Presented in facsimile tri-fold sleeve and pressed on 180 gram vinyl.
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RM 4246LP
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A note from Lawrence English: "Beatriz Ferreyra is a sonic world builder. For six decades she has been responsible for the creation of works that inhabit a place between the living world and the subliminal zones of the unconscious. Her compositions forge new realities, constructed piece by piece, from fragments of places and things we know, reedited and refocused to create something few of us might even imagine possible. Ferreyra's life in sound has transcended from the analog to the digital and back again. She is equally at home with tape manipulation as she is with digital transformations and it is this sense of material agnosticism which has lent her work such a personal quality. She pursues sound in the absolute, and allows it to guide her curiosity. A Distracted God collects three works from Ferreyra, each one a microcosm of listenership that speaks to her wholly consuming practice in sound. The edition takes in both tape and computer-based works, which reveal the very particular ways within which Ferreyra has explored and shaped sound. She remains one of the true pioneers of her generation, a fearless and relentless maker for whom the totality of sound's affect is forever front of mind." Cut at 45 RPM.
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LP
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SSLP 006LP
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2026 repress. LP version; includes download code. Soulsheriff Records presents a milestone in electronic music, Liaisons Dangereuses' legendary 1981 self-titled debut album, newly remastered and reissued for the first time since 2002. Liaisons Dangereuses still fascinates today, through its innovative sound and the mystery encompassing it. The 10 electrifying songs, produced by Chrislo Haas (DAF) and Beate Bartel (Mania D, Matador) and reinforced by Krishna Goineau's French and Spanish speech-attack lyrics, created a unique style. The album, anything other than a typical Berlin or Düsseldorf thing, became an international favorite. Songs like "Peut Être... Pas" and "Los Niños del Parque" played a decisive role in the development of house in Detroit and Chicago, as well as various forms of European techno.
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SF 133LP
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Hot on the heels of their spectacular self-titled debut album, The Handover is back with their second long form composition, New Old Medicine. Aly Eissa (oud), Ayman Asfour (violin), and Jonas Cambien (vintage organ/synth) have been cutting their teeth on the international touring circuit for the past two years, landing from town to town in their seductive spaceship to blow people's minds and then dematerialize into the void. An outline for a new piece began to emerge along the route and late last year during a stop in Berlin, this metamorphosis of the trio's sound was recorded in pristine form by Rabih Beaini at Morphine Studios. Attempting to define the music is not as important as allowing it to define itself -- from person to person, village to village. All we can do is suggest what may resonate to lure you into the arena; psychedelic, folkloric, Egyptian, etc., as these excerpts from the liner notes suggest: "Though one long piece, New Old Medicine moves through several unofficial chapters. It originates in the psychic depths with a pensive melody. Gradually solidifying, the organ's first solo ushers the piece into a swaying, reverent dance. This dance nears its end with a vigorously percussive section on oud, handing it off to the violin for a climactic solo. A momentary pause, then the rhythm thickens, and the musicians ride untethered through the midnight. This frenzy is followed by a calm repose on placid water. But this calm is merely a deep inhale before the final charged ascent into cosmic rapture." Don't sleep on this one! Limited edition vinyl pressing with two-page insert including liner notes by Tucker Wiedenkeller.
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LP
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VAMPI 243LP
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2026 repress. Vampisoul present the first vinyl reissue of Litto Nebbia's Bazar De Los Milagros, originally released in 1976. A space jazz-folk masterpiece infused with prog scents from one of the true legends of Argentinian music, Latin rock pioneer Litto Nebbia. Floating electric piano, acoustic guitar, female choirs and Moog sounds combine with Litto's own voice and create a unique blend of delicate beauty. The use of analog synthesizers in this conceptual album was a turn in Nebbia's work at the time. A long seven-minute suite opens the album, mixing acoustic textures with synth sounds, setting the grounds for the entire LP. Songs of introspective darkness alternate with other tracks influenced by sunny bossa nova, musical passages fueled with epic energy where the voice of Mirtha Defilpo accompanies Nebbia along with the intricate and enveloping instrumental work driven by Daniel Homer's guitars and Litto Nebbia's keyboards. The album draws a complex soundscape made up of an almost infinite number of musical pieces, rich in layers and textures, that -- decades after its original release -- still stands out for their modernity. Bazar De Los Milagros is undoubtedly one of the most advanced recordings of those that appeared in Latin America at the end of the '70s. Includes the song "La Caída", as recently sampled on Jay Electronica/Jay Z's hip-hop hit "The Neverending Story". Bazar De Los Milagros has also been listed on Japanese DJ and music expert Chee Shimizu's Obscure Sound guidebook, a must for record collectors. Includes facsimile version of the 32-page booklet that accompanied the original 1976 release; remastered sound.
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