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LP
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12XU 172LP
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"'So, how did this band even happen?' That's the question most often asked of Winged Wheel, a creatively and geographically scattered collective who have somehow congregated to make a noise that's unexpected but undeniable. The band includes Whitney Johnson (Matchess, Circuit des Yeux), Cory Plump (Spray Paint, co-owner of the dream venue Tubby's), Matthew J. Rolin (solo guitar wizard and half of the Powers/Rolin Duo), Steve Shelley (Sonic Youth), Lonnie Slack, and Fred Thomas (Idle Ray, Tyvek), each player living in a different city and bringing their own unique element to the group's chain reactions. Early long-distance file-trading between a few members yielded 2022's No Island, a debut album that was accidentally really good. Good enough for the band to expand their membership and meet in person for the sessions that became 2024's Big Hotel, a surgically-assembled murk of high energy kosmische rock with jammed-out tendencies. Fast forward just a little and all of a sudden the band that started out as a passing idea has completed multiple tours, become a taper's dream with sets that drift through structure and improvisation, and ridden the momentum to places unforeseen on their third album, Desert So Green. After a run of shows across the Midwest in the spring of 2025, the group settled into a studio on the outskirts of Chicago to track their next record. Full-blast, krautrock-informed jamming took a backseat to deeper experimentation, and the band found new dimensions, different atmospheres. The arrangements are still dense with layers of synths, noisy disruptions, and glowing orbs of alien sound, but every shift is considered and intentional. It's an album that spends its duration struggling to balance a scale with excitement on one side and anxious tension on the other. While Desert So Green is defined by a newfound restraint, there's also an intensity that never lets up. Desert So Green represents yet another transformation for Winged Wheel, one that takes them into a space of sharpened dynamism and more nuanced expression. The energy that arrived all at once in loud explosions on earlier albums is refracted here, and all the more powerful when broken down. It's a set of strange songs that demand close inspection and reward this attention with a clearer view of the band's individual personalities, and the separate alchemical presence that emerges when these personalities come together."
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CD
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SPIN 911CD
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"Vatican Shadow's 20th Hijacker -- the redacted 'what if' doom electronics loop which dissects the gulf between death as sacrifice vs. reward, anxiety digitalization and universal human commonality -- fear of loud noises and falling for the unspoken lost 9/11 generation. Repeated patterns of low-frequency pulses, coded intervals of silence and insistent machine-like percussive bursts resemble the preliminary stages of coordination. Experts familiar with prior activity of the organization note that these sonic movements align with earlier warnings of revolutionary activity, with networks mobilizing resources for a techno-industrial event of uncertain but potentially catastrophic magnitude and destabilizing influence, felt especially on 'Speed Of Sound' featuring Iggor Cavalera. With an atmosphere of secrecy pervasive, these nebulous communiques have a persistent momentum, consistent with preparations. The density of sound layers indicates reconnaissance -- global photography, encrypted kill webs -- woven into forms that stand to conceal as much as disclose. 20th Hijacker synchronizes post-Desert Storm-era paradoxes between the world's fastest surveillance plane at the time which was unarmed and the guerrilla weaponization of commercial aircraft -- foreshadowing the essence of the ongoing war on terror -- the merger of special operations and espionage within both opposing adversaries. In a climate of inevitability -- never forget war is a force that gives us meaning."
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SPIN 911LP
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LP version. Color vinyl. "Vatican Shadow's 20th Hijacker -- the redacted 'what if' doom electronics loop which dissects the gulf between death as sacrifice vs. reward, anxiety digitalization and universal human commonality -- fear of loud noises and falling for the unspoken lost 9/11 generation. Repeated patterns of low-frequency pulses, coded intervals of silence and insistent machine-like percussive bursts resemble the preliminary stages of coordination. Experts familiar with prior activity of the organization note that these sonic movements align with earlier warnings of revolutionary activity, with networks mobilizing resources for a techno-industrial event of uncertain but potentially catastrophic magnitude and destabilizing influence, felt especially on 'Speed Of Sound' featuring Iggor Cavalera. With an atmosphere of secrecy pervasive, these nebulous communiques have a persistent momentum, consistent with preparations. The density of sound layers indicates reconnaissance -- global photography, encrypted kill webs -- woven into forms that stand to conceal as much as disclose. 20th Hijacker synchronizes post-Desert Storm-era paradoxes between the world's fastest surveillance plane at the time which was unarmed and the guerrilla weaponization of commercial aircraft -- foreshadowing the essence of the ongoing war on terror -- the merger of special operations and espionage within both opposing adversaries. In a climate of inevitability -- never forget war is a force that gives us meaning."
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LP
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BING 222LP
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"With her first album Undertow, London-based composer/singer-songwriter Sophia Hansen-Knarhoi reveals stark venerability in a world of sound that is intimate and expansive. Voice and cello entwine to provide a cinematic intensity to songs that tell stories of memory, growth, and the raw, often dark, textures of emotion. with cinematic intensity. Undertow tethers intimacy to the corporeal, spanning violation and deep trust. It deals with the fallout of the victims of violence against women, voyaging through fear and pain to absolution. Born in Perth, Western Australia, Hansen-Knarhoi grew up surrounded by the natural world. Undertow draws on the stark landscapes of Western Australia. At moments, field recordings are woven into the work, while at others, arrangements reflect its beautiful barren environment through memory. Undertow revels in this remote sonic landscape. Her 2023 debut EP, Wildflowers, explores the transition from childhood to adulthood, blending ethereal, delicate vocals with graceful and tender instrumentation to embody memory, trauma, and the moments that shape people. This time, with the skilled Brooklyn producer Randall Dunn as a collaborator, Undertow pushes further into the abstract, a dark and dissociative space. Dunn carves intricate space around the lyrics, etching into the soundscape with tension. Cello and voice interact as dual narrators, layering hypnotic drones, gritty textures and raw emotive vocals. Undertow frames Hansen-Knarhoi in a caught moment, continuing her evolution, and all the sharp objects in the way."
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12"
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BR 036EP
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"The long running Brooklyn-based collective Chicha Libre counts members from Mexico, France, Venezuela and the US. Taking inspiration from exotic strains of cumbia, this follow-up to their mostly original tracks on their Canibalismo LP sees the band turning its attention to some well-known classics, applying their psychedelic chicha template to the Clash, Arthur Lee's Love, Los Shapis, and the Danny Eflman theme song to The Simpsons. Originally released on Record Store Day in 2013, it has been remastered and is available once again on vinyl. With this EP, Chicha Libre was closing a loop -- using a sound that was shaped by Peruvian tropical music to pay tribute to its own rockero roots -- and to some of its personal heroes. Jacket designed by Peruvian artist Elliot Tupac, whose posters and murals can be found on the walls of every neighborhood in Lima. Credited with perfecting a Chicha graphic style which has come to represent Peruvian urban culture. His work has been shown all over Latin America."
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Book
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9781953691996
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Hardcover. 588 pages. "Fiery, funny, inviting and digressive, Sonny Simmons' memoir is a long overdue celebration of the famed New York free jazz pioneer. Though his years in the New York free-jazz scene of the sixties cemented his reputation as 'one of the most forceful and convincing composers and soloists in his field,' saxophonist Sonny Simmons (1933-2021) was nearly forgotten by the '80s, which found him broke, heavily dependent on drugs and alcohol, and separated from his wife and kids. 'I played on the streets from 1980 to 1994, 365 days a year,' Simmons tells jazz historian and biographer Marc Chaloin. 'I would go to North Beach, and I'd sleep in the park. The word got around town that Sonny is a junkie, really strung out.' The resurrection of Simmons' career -- upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994 -- has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, joining the pantheon of great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats."
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BYG 332LP
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2025 restock. 32nd volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "Avant-garde jazz drummer Sunny Murray was a major player in the experimental jazz community throughout the 1960s. After three years as a member of Albert Ayler's band (1964-1967), Murray traveled to France where, after releasing two LPs on the BYG label, he recorded An Even Break, (recorded on November 22, 1969) for Affinity. Although his first release for the Affinity label, this was Murray's third release of the year! Featuring Byard Lancaster, Malachi Favors and Kenneth Terroade."
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12"
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COR 117EP
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2025 repress. Long-time Cocoon heroes Dominik Eulberg and Arne Schaffhausen (of Extrawelt) were featured in a VICE Magazine special in 2013 for a "field recording" documentary, which marked the beginning of a new collaboration. The first results of their mutual work is "A Little Further," which will be released in three different versions on Cocoon Recordings. The "Not on a Map" version is tailor-made for the afterhours and the rising sun. The "37 Routes" version stands out with breakbeats and no standard 4/4 kick drum. The "Imaginery Escort" version emphasizes the cool and reduced beat programming.
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CD
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CSR 354CD
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A deep reworking of Llyn Y Cwn's Megaliths (2024). The original was a profound dark ambient exploration of the sacred resonance embedded within stone circles; Megaliths In Dub is the echo beneath the surface, the unheard rhythm that has always been there. The megaliths stand -- timeless, unyielding. Their histories stretch beyond recorded memory, their presence imbued with silent narratives of the land. Megaliths sought to channel this ancient energy into pure sound. Yet no history exists without its counterpart -- no creation without its shadow. On Megaliths In Dub, suppressed tempos emerge, pulsing with the primal force of forgotten rites. Guitar invocations from the live rituals weave through the fabric of the album, distorting and reshaping the familiar, exquisite dark ambient Llyn Y Cwn has become renowned for. It is a sonic metamorphosis - a spectral reflection of the megalithic presence. The stones have been disturbed. Presented in a six-panel digipak with breathtaking photography by the artist.
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CSR 355CD
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Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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CSR 355LP
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LP version. Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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CSR 355X-LP
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LP version. Green color vinyl. Underneath The Earth is the debut album from Chimehours; a hauntological music project for the dislocated present day. Taking inspiration from Max Porter's novel Lanny, the album digs into themes of nature, myth and community, with an edge of folk-horror. Drones, drums and gritty guitars are juxtaposed with woodwind, strings and ethereal song. Written and produced between Derbyshire, London and Margate, the album takes musical influence from the likes of Liz Fraser, Broadcast, Beth Gibbons, Bibio, and Jóhann Jóhannsson, and atmospheric cues from The Wickerman, The Fog, and Enys Men. Chimehours is a collaboration between Beck Goldsmith and Jon Dix. The pair have previously performed in bands together and composed music for award-winning film and television. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. Here, Chimehours raid the vaults of '70s British cinema and trad folk soundscapes to riff on contemporary anxieties and ecological yearning. They conjured up this foray into cinematic, horror-flecked contemporary-folk to explore their love of the supernatural and the other-than-human. The result is a collection of all things earthy, exquisite and grotesque.
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LP
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DE 322LP
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"C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague's Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019's inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with 'Route 505' and 'One Tear,' a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to 'Vigilant Slimy Monsters,' sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for 'Black Magic Carpet Ride III,' a cavernous downtempo banger. The slow-mo pace continues with 'Wild Slugs United,' which features the no wave-esque clarinet work of Paul Costuros. Closer 'Don't Flip the Crystal Ship' pays homage to Bayview venue Bay Area 51 with melancholic strings and a quartz-solid electrofunk bassline. Splat City II comes in a sleeve with artwork by Bert Bergen, which features a vampiric cat and sci-fi cityscapes."
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CD
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DG 007CD
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"Here is a recording of the Broad Museum show. A bunch of Krauty jams we've never played live before and a couple old favs. Mixed by JPD. Mastered by the guru JJ Golden. Here is a slab to burn one to while you jettison any garbage (good riddance) out the hatch -- onward and upward."
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2LP
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DG 007LP
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Double LP version. "Here is a recording of the Broad Museum show. A bunch of Krauty jams we've never played live before and a couple old favs. Mixed by JPD. Mastered by the guru JJ Golden. Here is a slab to burn one to while you jettison any garbage (good riddance) out the hatch -- onward and upward."
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2LP
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DG 007X-LP
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Double LP version. Color vinyl. "Here is a recording of the Broad Museum show. A bunch of Krauty jams we've never played live before and a couple old favs. Mixed by JPD. Mastered by the guru JJ Golden. Here is a slab to burn one to while you jettison any garbage (good riddance) out the hatch -- onward and upward."
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LP
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DC 949LP
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Restocked. "The successor to 2022's Bajascillators glides easily into frame, but once there, Inland See is deceptively immediate. It's so dialed in, you hardly even feel how present the music (and you the listener) is. Time wharping's always been a resident magic for Bitchin Bajas, as is flow, which is translucent like water here. That's the Inland See vibe, unique unto itself. In turn, each of the four songs here are entirely within themselves, all together forming an essential whole. The coincision'll cause yer breath to shorten, like an exciting and non-fatal kind of exercise! New freedoms, yet more molecular structure in each one. With every successive Bitchin Bajas release, we see that the real key for them is a sense of discovery, that tingle that comes when you feel something breaking through. The sky opening up. The stuff that fills this Inland See holds you up powerfully, as if you're floating, saltwater or helium-wise -- effervescent, effortless, elemental. An increasing sense of the Bajas' physicality -- what's ephemeral, what's mercurial, and what sits inside us after it's all over. This music was mostly written on the road. It's an unusual happening for Bitchin Bajas! They were open for it, though -- the landmarked Bajascillators kept them out there for a while, and when inspiration struck, there they rolling. When it was time to render it to tape and find the record there, they did the whole thing at Electrical Audio. Recording all together in the room there lent a sense of space, which they dug and captured as natural as possible. No reverb at all added after the fact. Everything that's there was in system, directed through the interconnects with cool hands. And once Inland See is flowing toward you, through the hi-fi, you feel it all in the air."
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EPR 082LP
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LP version. Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock and Scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 and El Paraiso's own Lotus, Fra Det Onde and Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you're floating on cosmic Pharoah Sanders waters, the next you're ascending on electrified if-Tortoise-played-Allman Brothers-style jamming. The band describes their approach as: "Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away." Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.
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4CD
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IMPREC 347CD
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2025 restock. "The Complete Studio Recordings of Overhang Party includes each of their studio albums (each with a bonus track) and their unreleased final recording sessions. While this four CD set is sure to please aficionados of Japanese underground rock , the biggest surprise will be for the uninitiated who can finally confront the groups emotional depth and stylistic breadth head on. Japan's Overhang Party were always one of their country's most interesting, multifaceted, and imaginative musical units, able to weave crawling rhythms and blown out psych feedback into full on rock anthems. Absolutely essential listening for fans of LSD March, Miminokoto, Les Rallizes Denudes, Damon & Naomi/G500, Ghost, PSF/Tokyo Flashback, and Japanese underground rock."
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CD
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ITR 409CD
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"Fuzz, the California based trio of Ty Segall (vocals, drums), Charles Moothart (vocals, guitar), and Chad Ubovich (vocals, bass), present their latest release Fuzz's Fourth Dream on In The Red Records. This is the band's first release in four years and is a collection of singles, unreleased demos, and rarities. 'I lived in a four-bedroom house in San Francisco that housed anywhere from six to ten people at a time,' Moothart explains. 'Friends were always crashing when they were between spots, on tour, or just couldn't make it home. It was a chaotic space, but a space that was cherished by many. Chad frequently crashed on our couch when on tour -- surrounded by ashtrays full of cigarettes and joint roaches; beer cans and spray paint cans. I remember jamming on guitar and drums with Ty at like 2 AM in the garage (still feel bad for putting the neighbors through that.) One day, under Ty's guidance, I dragged a 388 in to the garage. I decided I wanted to write a Sabbath-style riff just to see what happens. I laid down some drums, then came up with what would become Fuzz's Fourth Dream. I showed Ty the 'demo' which was more of a sloppy idea. He basically said 'Let's make this band' and Fuzz was off. This collection really does give a proper road map to what this band is and was, as well as how the two connect,' Moothart explains. 'Fuzz means a lot to me, and I have learned so much through these processes. Thank you to any one who has been listening to these songs since the beginning, and thank you to any one who is here for the first time.'"
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GIGOLO 367CD
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Neoclash is DJ Hell's new work. The electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and reshaped into a modern, reflective form. Neoclash is a cultural experiment -- music as a medium of reflection, a structure for space and time, and a vehicle for exploring the tensions between technology, the body, and perception. Electroclash now -- or a manifesto for the aesthetic relevance of electronic club music, combining strong old-school references with a new understanding. DJ Hell, a.k.a. Helmut Josef Geier, delivers a contemporary reinterpretation of the electroclash genre. International Deejay Gigolo Records was the pulse of the movement 25 years ago -- and Hell, its very namesake. Godfather of Electroclash reloaded. 25 years and many milestones later, DJ Hell returns to his roots with Neoclash, proving that electroclash can sound not nostalgic, but forward-thinking and visionary. Neoclash builds a bridge between past and present within electronic dance culture and club music. Italo disco, new wave, indie dance, disco, pop, Chicago house, acid, Detroit techno, and avantgarde music merge here into a bold new interpretation. Featuring Donna Summer and Joyce Muniz.
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IR 038LP
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"Intervention Records presents the first vinyl release in its Intervention Sun Records Hi-Fi Series, Carl Perkins' groundbreaking rockabilly classic, 1957's Dance Album of Carl Perkins. This premium vinyl release commemorates the 70th anniversary of Sun's Sam Philips recording Carl Perkins' smash 'Blue Suede Shoes,' which was released as a single on New Year's Day 1956. Dance Album isn't just full of legendary songs that gave birth to rock n' roll itself, many of these tunes are now rock standards that have stood the test of time. These iconic songs have been covered by Elvis Presley, The Beatles (as a band plus George, Paul and Ringo solo), Johnny Cash and so many more! As great as many of these versions are from over the decades, arguably no one ever did these tunes with more swag than Carl himself on Dance Album! The SMASH hits include Perkins-written classics like 'Blue Suede Shoes,' 'Honey Don't,' 'Matchbox,' and 'Everybody's Trying to Be My Baby.' The album also includes Carl's covers of 'Only You' and 'Wrong Yo Yo.'"
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CD
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ISO 010CD
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"Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás' You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors. The album twists gospel spirituals into blistering indictments of hypocrisy, using sacred forms to expose the cruelty of churches that damned AIDS sufferers as cursed by God. From the siren-call of 'Swing Low Sweet Chariot' through 'Double-Barrel Prayer,' 'Birds of Death,' and the title track, she intones as apostate, reaper, and bar-room brawler, detourning spirituals into prayers to a god invented by despair. Begun in 1984 and haunted by her brother's death in 1986, the trilogy moved from anguish to political knowledge, shaped by Americas mounting AIDS epidemic -- by 1988 over 46,000 dead, antivirals still years away. Dismissed as the AIDS lady and joining Act Up protests, Galás made the trilogy a work begun in 1984 and not completed until the end of the epidemic, refusing closure: for her there is no escape or reprieve. You Must Be Certain of the Devil spears you in the eternal present of trauma, by an artist who calls herself a Greek orthodox atheist: a person certain of the devil with no hope in God. LP is packaged in a gatefold sleeve with euro inner sleeve and poster, with remastered audio by Heba Kadry, vinyl lacquers cut by Paul Gold at Salt Mastering and photography by Emily Andersen."
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ISO 010LP
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LP version. "Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás' You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors. The album twists gospel spirituals into blistering indictments of hypocrisy, using sacred forms to expose the cruelty of churches that damned AIDS sufferers as cursed by God. From the siren-call of 'Swing Low Sweet Chariot' through 'Double-Barrel Prayer,' 'Birds of Death,' and the title track, she intones as apostate, reaper, and bar-room brawler, detourning spirituals into prayers to a god invented by despair. Begun in 1984 and haunted by her brother's death in 1986, the trilogy moved from anguish to political knowledge, shaped by Americas mounting AIDS epidemic -- by 1988 over 46,000 dead, antivirals still years away. Dismissed as the AIDS lady and joining Act Up protests, Galás made the trilogy a work begun in 1984 and not completed until the end of the epidemic, refusing closure: for her there is no escape or reprieve. You Must Be Certain of the Devil spears you in the eternal present of trauma, by an artist who calls herself a Greek orthodox atheist: a person certain of the devil with no hope in God. LP is packaged in a gatefold sleeve with euro inner sleeve and poster, with remastered audio by Heba Kadry, vinyl lacquers cut by Paul Gold at Salt Mastering and photography by Emily Andersen."
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LP
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SCIE 3725LP
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For 20 years Bart De Paepe has carved a distinctive trace in the realm of psychedelic underground and counterculture. With several outstanding solo albums on a.o. Astres d'Or, Ultra Eczema, No Basement Is Deep Enough and with many studio and concert ventures with Sylvester Anfang's funeral folks, Louise Landes Levi, Timo van Luijk, and Raymond Dijkstra, to name a few, Bart De Paepe developed a wide and sharp spirit within the orbit of psychedelic improvisation. Since 2007 Bart also curates the Sloow Tapes and Sloowax labels with an impressive catalog of music and poetry by a wide range of resonating artists. Bart's visual work (drawing and painting), parallel to his musical universe, has been used on many of these releases. He is a genuinely curious traveler, always discovering new dimensions, which is clearly to be heard on the four tracks of this album. Zürahümnah is an immediate and immersive dive into solitary inner and outer worlds of light and darkness. Zürahümnah is a floating vibration of flickering twilight. Zürahümnah is a mysterious journey through detached time and space. Equipped with Hawaiian guitar, piano, organ and cymbal, Bart De Paepe sets the controls for the heart of the sun.
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