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LP
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AR 187LP
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Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London. This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording. Recorded in South London, the album captures a band deeply attuned to one another. Drummer Thomas Broda and percussionist Jim Le Mesurier play together in the same room, shaping a physical pulse that runs through the record. Long-standing collaborators Regis Damasceno on bass and Caetano Malta on guitar bring depth and precision, while UK jazz trombonist Rosie Turton adds expressive lift throughout. The arrangements remain open and responsive, with space, feel, and attention guiding each track forward rather than click tracks or studio polish. Lead track "Egum Eô" is a wonderfully Afro-Brazilian opening and sets the scene perfectly with MOMO.'s vocal sounding much like the album's title Tum Tum Tum, pushing the positivity sky-high in unison with a gorgeous horn hook. The broken groove slowly rolls in like a curling surf-perfect wave before the band all join the jam, leaving the listener joyfully entranced. Guest appearances from Brazilian MPB legend Marcos Valle and Smoke City's Nina Miranda speak to a body of work shaped through enduring artistic relationships. MOMO.'s connection with Valle goes back several years, to his time with former band Fino Coletivo and a live recording in Rio de Janeiro. With Nina Miranda, a London-based friendship and creative partnership that grew over years of performance together finds its recorded form in "Canto de Aldeia," a track that, in MOMO.'s words, "celebrates our friendship.". Miranda sings in English in an almost Jacqui McShee style, evoking real nostalgia against the band's steady rhythm and dreamy strings. Tum Tum Tum feels assured and alive, music shaped by travel, time and accumulated experience. It carries the confidence of an artist who understands that continuity is its own form of strength. Twenty years and eight albums in, MOMO. continues forward with clarity and intent.
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2LP
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BEWITH 026LP
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2026 repress. Be With Records present a reissue of Tommy Guerrero's Soul Food Taqueria, originally released in 2003. It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences -- from blues to folk to Latin to dusty funk, soul and hip-hop -- one cannot hear a Tommy Guerrero song without immediately recognizing it as his -- and his only. The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs. The originals were quietly pressed on to a single piece of vinyl, so Be With Records worked closely with Tommy to offer fresh, limited editions. Soul Food Taqueria continued Guerrero's guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalog. Guerrero's atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days. From bossa nova, samba, and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold. Dubby, bass-heavy instrumentals give way to moody folk-soul -- witness "It Gets Heavy", featuring melancholic vocals from Gresham Taylor -- whilst "Thank You MK" is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks -- check "Lost Unfound", "Another Brother Gone", and "Broken Blood" -- built around minimalist, laid-back grooves, and detailed guitar orchestrations which wouldn't be out of place on the latest Jonny Nash release. Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, "Falling Awake" is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. Remastered. 180 gram vinyl; expanded to double-LP and presented in a gatefold sleeve.
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LP
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BEWITH 027LP
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2026 restock. Batteaux's self-titled album, originally released in 1973. A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, this is and undoubted masterpiece of proto-Yacht-Rock. Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time -- well-crafted, melodic songs performed with precision and balance -- whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records. Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America, and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin, and Andy Newmark.It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah. The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favorite that achieves a peculiar strutting-funk. This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket -- their father worked on a dolphin-human communication project in Hawaii, hence the infamous design -- and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis's sensitive mastering elevates the sound throughout and, as ever, it has been pressed on 180 gram vinyl. Edition of 500.
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2LP
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BEWITH 056LP
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2026 repress. Be With Records present a reissue of Sweet And Nice, the vital debut album from Jamaica's undisputed first lady of song Marica Griffiths, originally released in 1974. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original's opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn't mess with magic. Marcia's version of "Here I Am (Come and Take Me)" has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It's followed by the sophisticated, rollicking wah-wah funk of "Everything I Own" and the slice of smooth lovers soul par excellence that is "Green Grasshopper" and her ace, lilting Neil Diamond cover "Play Me". The thundering, humid funk of "Children At Play" "sounds uncannily like a precursor of Massive Attack", as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody, and essential. Side two keeps the fire burning. "Sweet, Bitter Love" should leave you swooning, and is also one of the album's alternate titles. Curtis Mayfield's already-eternal "Gypsy Man" follows, recast as proto-lovers rock. "There's No Me Without You" is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia's heartbreaking delivery. And if this doesn't get you then surely the next track will: arguably the definitive version of Ewan MacColl's "The First Time Ever I Saw Your Face". "I Just Don't Want To Be Lonely" re-takes its rightful place at the end of the LP's second side... but Be With Records added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Amongst these 14 extra tracks you'll find the exquisite late-60s singles "Melody Life" and "Mark My Word" which, along with the sumptuous reading of "Band Of Gold". All material is remastered. 140 gram vinyl.
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LP
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BEWITH 162LP
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2026 restock. Alan Tew's Drama Suite Part II is full of cool, low-slung heavy-funk rollers with relaxed brass and alto flute phrases. "The Fence (a)" was sampled for "Action Satisfaction" by J5, and "Drama Backcloth (1a)" was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM's brand identity.
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LP
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BNSD 098LP
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Oceanine, Jolanda Moletta's third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won't want to come up for air once you've been pulled under. Representing a musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth's cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within everyone. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, "We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth." Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta's artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.
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12"
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BTD 002EP
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2026 repress. Fellow long time in the disco trench dweller his graciousness Dimitri of Paris kindly offered Bite The Day employment on a remix for him as his friend Malik, after doing said job the label asked if it could impose a tariff of releasing our unused mixes. Welcome to another EDM banger from BTD.
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Book
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9781953691231
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Paperback. 490 pages. "The most comprehensive compilation of the sound artist's working documents for her unrealized media-opera tour de force. Written in the early 1980s by American sound art pioneer Maryanne Amacher (1938-2009), Intelligent Life follows the employees of Supreme Connections LLC, a music entertainment corporation navigating a future in which artificial intelligence generates music faster than composers can. Anticipating an industry-wide downturn, Supreme Connections president Aplisa Kandel seeks advanced technologies that will revolutionize the act of listening, narrating to the audience as she does so. Though the untimely deaths of the opera's would-be patrons prevented Amacher from realizing the work in its intended forms -- a serialized radio broadcast and television simulcast -- she continued designing 'treatments' for the opera for much of her career. This publication makes the most complete presentation of these working documents -- including episodic scripts, notes on the use of LaserDisc and an illustrated storyboard for the pilot -- available to the public for the first time, and evinces Amacher's prescient ideas about perception, listening and composition."
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7"
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CELNYP 003EP
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The new trip-hop/no wave duo's 7". The second release from the legendary Celluloid label since its rebirth after 35 years of silence, Honk Gong is a brand-new trip-hop/no wave duo built around the wild, dreamlike sampling of Paul Ramon and the contagiously laid-back flow of the San Francisco's MC and producer, Robin Jiro Margerin. Conceived as the diary of a chemical wreck, Dissociate drifts somewhere between the intelligence of an A Tribe Called Quest track and a YouTube collage.
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LP
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CELNYP 004LP
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Villejuif underground's Nathan Roche's new project, presenting a noise-blues experimental album. Following the tradition of Derek Bailey, Henry Kraiser, and Sonny Sharrock albums on Celluloid Records, the label is releasing this abstract and mysterious instrumental album, made under a cryptic name: AA in Reverse, by nqthqn. Recorded shortly after Ghostbox Cowboy, released on Tailnia Records out of China, this new effort digs deeper into what critics describe as buzzards circling the half-dead body of Harry Dean Stanton in Paris, Texas. The project curiously explores what it might be like to create no-wave abstract guitar music by a campfire, as inaugurated by Arto Lindsay, Loren Connors, or John Fahey. AA in Reverse was recorded and engineered by David Akerman (Robin Hitchcock, Dead Farmers) at Golden Retriever Studios (Parcels, Cate Le Bon, Courtney Barnett) in Marrickville.
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2LP
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CS 014B-LP
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Double LP version. Deluxe aluminum sleeve. New album from the noise/math rock duo after a 20-year hiatus. A sound architects' album tinted with esoterism. Chevreuil is a French rock duo made up of Julien F. and Tony C., formed in 1998 after the two met three years earlier at an art school in Nantes. From the beginning, they approached the idea of a band as a performative art installation, a self-contained, sculptural device for sound, space, and motion, rather than a conventional rock ensemble. Julien and Tony, respectively, in their parlance, play "magnetic drums" and "magnetic guitar," an analogy for their livewire, one-on-one chemistry, where the music seems to fall together by way of natural forces. Rejecting the addition of a bassist early on, Chevreuil built its music around reduction, repetition, and architecture. Tony's guitar runs through four amplifiers arranged around Julien's drum kit, creating a quadraphonic field that surrounds the players. Julien's 1976 Ludwig kit, built the same year both musicians were born, is never amplified, allowing the group to perform anywhere so long as there's a single outlet for the amplifiers. The result is both physical and spatial, a minimalist engine of rhythm and resonance that behaves as much like an installation as a band. Their sound construction operates like an assemblage of interlocking blocks of energy, each part locking precisely into the next. Between 1998 and 2006, Chevreuil released four albums, an EP, and several singles. After a 20-year hiatus, Chevreuil returns with the double album Stadium, recorded in France in January 2025. Stadium, Chevreuil's most esoteric album to date, preserves the essential conditions of their earlier work while introducing new elements that expand the duo's sonic vocabulary. Conceptually, the album draws on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry and magic, using these ideas as lenses for exploring vibration and transformation. Chevreuil's return with Stadium reasserts their place in their lineage: a duo grounded in art-school conceptualism, sonic architecture, and human connection, building an environment of sound that is at once precise, raw, and alive. For fans of Shellac, Slint, Cheval De Frise, Black Midi, Hella, Battles, Tortoise, Horse Lords, Deerhoof, Matmos, Don Caballero.
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CD
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CS 014CD
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New album from the noise/math rock duo after a 20-year hiatus. A sound architects' album tinted with esoterism. Chevreuil is a French rock duo made up of Julien F. and Tony C., formed in 1998 after the two met three years earlier at an art school in Nantes. From the beginning, they approached the idea of a band as a performative art installation, a self-contained, sculptural device for sound, space, and motion, rather than a conventional rock ensemble. Julien and Tony, respectively, in their parlance, play "magnetic drums" and "magnetic guitar," an analogy for their livewire, one-on-one chemistry, where the music seems to fall together by way of natural forces. Rejecting the addition of a bassist early on, Chevreuil built its music around reduction, repetition, and architecture. Tony's guitar runs through four amplifiers arranged around Julien's drum kit, creating a quadraphonic field that surrounds the players. Julien's 1976 Ludwig kit, built the same year both musicians were born, is never amplified, allowing the group to perform anywhere so long as there's a single outlet for the amplifiers. The result is both physical and spatial, a minimalist engine of rhythm and resonance that behaves as much like an installation as a band. Their sound construction operates like an assemblage of interlocking blocks of energy, each part locking precisely into the next. Between 1998 and 2006, Chevreuil released four albums, an EP, and several singles. After a 20-year hiatus, Chevreuil returns with the double album Stadium, recorded in France in January 2025. Stadium, Chevreuil's most esoteric album to date, preserves the essential conditions of their earlier work while introducing new elements that expand the duo's sonic vocabulary. Conceptually, the album draws on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry and magic, using these ideas as lenses for exploring vibration and transformation. Chevreuil's return with Stadium reasserts their place in their lineage: a duo grounded in art-school conceptualism, sonic architecture, and human connection, building an environment of sound that is at once precise, raw, and alive. For fans of Shellac, Slint, Cheval De Frise, Black Midi, Hella, Battles, Tortoise, Horse Lords, Deerhoof, Matmos, Don Caballero. Also available on black vinyl (CS 014LP), green vinyl (CS 014G-LP), cassette (CS 014CS), and in deluxe aluminum sleeve (CS 014B-LP).
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Cassette
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CS 014CS
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Cassette version. New album from the noise/math rock duo after a 20-year hiatus. A sound architects' album tinted with esoterism. Chevreuil is a French rock duo made up of Julien F. and Tony C., formed in 1998 after the two met three years earlier at an art school in Nantes. From the beginning, they approached the idea of a band as a performative art installation, a self-contained, sculptural device for sound, space, and motion, rather than a conventional rock ensemble. Julien and Tony, respectively, in their parlance, play "magnetic drums" and "magnetic guitar," an analogy for their livewire, one-on-one chemistry, where the music seems to fall together by way of natural forces. Rejecting the addition of a bassist early on, Chevreuil built its music around reduction, repetition, and architecture. Tony's guitar runs through four amplifiers arranged around Julien's drum kit, creating a quadraphonic field that surrounds the players. Julien's 1976 Ludwig kit, built the same year both musicians were born, is never amplified, allowing the group to perform anywhere so long as there's a single outlet for the amplifiers. The result is both physical and spatial, a minimalist engine of rhythm and resonance that behaves as much like an installation as a band. Their sound construction operates like an assemblage of interlocking blocks of energy, each part locking precisely into the next. Between 1998 and 2006, Chevreuil released four albums, an EP, and several singles. After a 20-year hiatus, Chevreuil returns with the double album Stadium, recorded in France in January 2025. Stadium, Chevreuil's most esoteric album to date, preserves the essential conditions of their earlier work while introducing new elements that expand the duo's sonic vocabulary. Conceptually, the album draws on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry and magic, using these ideas as lenses for exploring vibration and transformation. Chevreuil's return with Stadium reasserts their place in their lineage: a duo grounded in art-school conceptualism, sonic architecture, and human connection, building an environment of sound that is at once precise, raw, and alive. For fans of Shellac, Slint, Cheval De Frise, Black Midi, Hella, Battles, Tortoise, Horse Lords, Deerhoof, Matmos, Don Caballero.
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2LP
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CS 014G-LP
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Double LP version. Green color vinyl. New album from the noise/math rock duo after a 20-year hiatus. A sound architects' album tinted with esoterism. Chevreuil is a French rock duo made up of Julien F. and Tony C., formed in 1998 after the two met three years earlier at an art school in Nantes. From the beginning, they approached the idea of a band as a performative art installation, a self-contained, sculptural device for sound, space, and motion, rather than a conventional rock ensemble. Julien and Tony, respectively, in their parlance, play "magnetic drums" and "magnetic guitar," an analogy for their livewire, one-on-one chemistry, where the music seems to fall together by way of natural forces. Rejecting the addition of a bassist early on, Chevreuil built its music around reduction, repetition, and architecture. Tony's guitar runs through four amplifiers arranged around Julien's drum kit, creating a quadraphonic field that surrounds the players. Julien's 1976 Ludwig kit, built the same year both musicians were born, is never amplified, allowing the group to perform anywhere so long as there's a single outlet for the amplifiers. The result is both physical and spatial, a minimalist engine of rhythm and resonance that behaves as much like an installation as a band. Their sound construction operates like an assemblage of interlocking blocks of energy, each part locking precisely into the next. Between 1998 and 2006, Chevreuil released four albums, an EP, and several singles. After a 20-year hiatus, Chevreuil returns with the double album Stadium, recorded in France in January 2025. Stadium, Chevreuil's most esoteric album to date, preserves the essential conditions of their earlier work while introducing new elements that expand the duo's sonic vocabulary. Conceptually, the album draws on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry and magic, using these ideas as lenses for exploring vibration and transformation. Chevreuil's return with Stadium reasserts their place in their lineage: a duo grounded in art-school conceptualism, sonic architecture, and human connection, building an environment of sound that is at once precise, raw, and alive. For fans of Shellac, Slint, Cheval De Frise, Black Midi, Hella, Battles, Tortoise, Horse Lords, Deerhoof, Matmos, Don Caballero.
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2LP
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CS 014LP
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Double LP version. New album from the noise/math rock duo after a 20-year hiatus. A sound architects' album tinted with esoterism. Chevreuil is a French rock duo made up of Julien F. and Tony C., formed in 1998 after the two met three years earlier at an art school in Nantes. From the beginning, they approached the idea of a band as a performative art installation, a self-contained, sculptural device for sound, space, and motion, rather than a conventional rock ensemble. Julien and Tony, respectively, in their parlance, play "magnetic drums" and "magnetic guitar," an analogy for their livewire, one-on-one chemistry, where the music seems to fall together by way of natural forces. Rejecting the addition of a bassist early on, Chevreuil built its music around reduction, repetition, and architecture. Tony's guitar runs through four amplifiers arranged around Julien's drum kit, creating a quadraphonic field that surrounds the players. Julien's 1976 Ludwig kit, built the same year both musicians were born, is never amplified, allowing the group to perform anywhere so long as there's a single outlet for the amplifiers. The result is both physical and spatial, a minimalist engine of rhythm and resonance that behaves as much like an installation as a band. Their sound construction operates like an assemblage of interlocking blocks of energy, each part locking precisely into the next. Between 1998 and 2006, Chevreuil released four albums, an EP, and several singles. After a 20-year hiatus, Chevreuil returns with the double album Stadium, recorded in France in January 2025. Stadium, Chevreuil's most esoteric album to date, preserves the essential conditions of their earlier work while introducing new elements that expand the duo's sonic vocabulary. Conceptually, the album draws on the music of the spheres, magnetism, radioactivity, barometric oscillations, astrometry and magic, using these ideas as lenses for exploring vibration and transformation. Chevreuil's return with Stadium reasserts their place in their lineage: a duo grounded in art-school conceptualism, sonic architecture, and human connection, building an environment of sound that is at once precise, raw, and alive. For fans of Shellac, Slint, Cheval De Frise, Black Midi, Hella, Battles, Tortoise, Horse Lords, Deerhoof, Matmos, Don Caballero.
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CD
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ESPDISK 1042CD
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2026 restock; R.I.P. Gunter Hampel. Recorded in Baarn, Holland on December 21st, 1966, Music From Europe was a strong statement of European free jazz from one of its first and strongest leaders, Gunter Hampel. Over the beautifully structured compositional suites are strong blowing and improvising by both reedmen (Hampel, Breuker) and the elastic rhythm section (Veening, Courbois).
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ESPDISK 5044CD
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Amazingly, this is Charles Downs's first album as sole leader, recorded shortly after he turned 81. Starting in the 1970s, he performed as Rashid Bakr, a name he chose out of admiration for drummer Rashid Ali; this is how he was known while performing in various Cecil Taylor ensembles, with Jemeel Moondoc's Ensemble Muntu, and as a member of Other Dimensions in Music, to name just a few. He reverted to his birth name in the 21st century. Featuring Hery Paz (saxophone), Jamie Saft (piano), and Joe Morris (bass). Recorded by Jim Clouse at Park West Studios on December 16, 2024. Mixed by Jamie Saft at Calamari Gardens, Maine. Front cover by Joe Morris; package design/layout by Diana K.
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CD
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ESPDISK 5103CD
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Entropic Hop's sophomore studio album, their first on ESP-Disk', is a covert extraterrestrial mind control program utilizing controversial sonic hypnosis techniques; a prurient hyperreal triad unraveling in sonic flux while rupturing auditory expectations; an inter-dimensional artifact filtering rigorous initiation rituals and organized chaos into weapons of discourse against hierarchical coercion. After the psychoactive success of their 2023 Japanese tour, Entropic Hop returned to NYC envisioning a posthuman soundscape, one that could not only thread a future-proof sanctuary of kindness through the erratic kerfuffle of musique concrète, but one that could also tickle the visionary spectral residues of Roscoe Mitchell, cuddle the residual husk of Stockhausen's "Die sieben Tage der Woche," and strive to implement Joseph Beuys' "science of freedom." To achieve these goals on TQFTNITDOTS, Ayumi Ishito has evolved her marriage of saxophone and electronics into broad new spectral explorations of echoing simulacrum; Aron Namenwirth's guitar swims in an awakened molten lattice of distortion, glitch, and peaceful aspiration; Kevin Shea's dystopian percussive algorithms have emerged to convert alien code from the electronovoid into sunshine. While some may hear the echoes of a fractured world, Entropic Hop finds a sanctuary of kindness within the musical process -- humor in tragedy and laughter inside the darkness. TQFTNITDOTS is one antidote to the madness -- a defiant call to reclaim the spirit.
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2LP
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FRVR 001LP
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Double LP version. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).
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2LP + 10"
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FRVR 001LTD-LP
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Double LP version. Includes bonus 10". Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval.
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2LP
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GME 939LP
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Limited restock; double LP version. Magma, is a French cross-genre, jazz-rock rooted, progressive rock and fusion band founded in 1969 by drummer Christian Vander. Magma have existed in two phases, the first was formed in the summer of 1969 and debuted on LP in 1970, continuing through to 1983. Kobaia was released in the spring of 1970.
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CD
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HT 014CD
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Etude IV: points-lines-landscapes (1979). This work is designed as an all-electronic piece without considering any configuration with soloist parts for later use (unlike the two following pieces featured on this CD). It was realized by Jean-Claude Eloy in 1979 on the CEMAMu's UPIC upon Iannis Xenakis's invitation to whom this work is dedicated as a friend. The UPIC (Unité Polyagogique Informatique du CEMAMu) is an electronic tool invented by Iannis Xenakis in the 1970s. It is a graphic interface designed to create sound and compose music, whose first version featured a big drawing board (a sort of architect desk) equipped with a ballpoint electromagnetic pencil, surrounded by a computer (mini-computer solar 16/55 ESMS -- memory of 32 K) and a monitor. All kinds of forms could thus be drawn with the electronic pencil based on time parameters (moving from left to right) and frequency spaces (from bottom to top, from the lowest to the highest register). Before each drawing (or for every line or "arch" -- from an architectural point of view) the appropriate banks would be successively selected with the electromagnetic pencil: a waveform bank, an envelope bank, which could also be drawn and stored in advance. Piling up such arches you could obtained more or less complex drawings filling a "page" that could be calculated by the computer upon completion. Today, such operations are widely used by every computer (including consumer computer) whiz. However, in 1979 (when this work was produced) such opportunities were unique. Of a Forgotten Star (1986), electro-acoustic part alone from Sappho hiketis. Originally, this work was part of Anâhata but did not end up in its final production. It was later used as a supporting structure for the Sappho hiketis piece with the solo vocal parts especially written for Fatima Miranda and Yumi Nara. During the electro-acoustic production of Anâhata this mixing was entitled Indian-Plates. The basic material is exclusively made of prerecorded sounds from metal percussion instruments. The Great Wave (1991) (a tribute to Hokusai), electro-acoustic part alone from "She" (from the Gaia-Songs cycle). This work was originally realized to fit into Erkos but was not used in the final production. It was later integrated into the Gaia-Songs cycle for the fourth piece. This work was completed in 1990-91 at the WDR (Westdeutscher Rundfunk) Electronic Studio of Cologne.
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CD
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HT 015CD
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CD with 60-page booklet with photos and texts in French and English. Kâmakalâ. The Energy Triangle (1971). For three orchestra ensembles, five chorus ensembles, with three conductors. Orchestra and chorus of the WDR, Schola Cantorum, Stuttgart. Conductors: Michel Tabachnik, Bernhard Kontarsky, Jacques Mercier. "Kâmakalâ" -- a Sankrit term meaning energy triangle -- refers to India's philosophy (Tantric Shivaïsm) and is expresses here as the appearance of energy, which is the erotic and cosmic energy (Kama), that which helps Shiva uniting with his Shakti (feminine energy), create every self-subdivision (Kalâ), hence gradually generating the whole complexity of the universe. It is that idea of a vast and slow crescendo of the various parameters of a musical score, of an infinite division and infinite multiplication of the material contained in it that appealed to Eloy. As a result, music pieces were almost inevitably bound to be brief, unable to sustain time as it would distribute the entire sound energy from the very first minutes. Étude III (1962) for orchestra, with piano and five percussionists. Orchestra of the SWF, Baden-Baden. Conductor: Ernest Bour. Etude III, which was composed in May and June of 1962 in Zurich and Paris, uses the configuration of a traditional orchestra (wood and brass instruments by pair) opposite to an ensemble of five percussionists, piano, harp and celesta. A dialectic stands out of this opposition as it is emphasized through the writing and conducting (measured for the orchestral mass, a-measured and cued for the entire ensemble on the foreground). The instruments, which form cohesive timber families, come in according to an irregular pattern as the piece develops, with the entire configuration not coming into play until the last developments. Fluctuante -- Immuable (1977) for full orchestra. New Philharmonic Orchestra from Radio-France. Conductor: Gilbert Amy. Fluctuante-Immuable, which was composed in 1977 as Gaku-no-Michi was produced in the Nippon Hoso Kyokai (NHK) electronic studio in Tokyo, is the result of a commission by the Secretariat of Cultural Affairs made for the Orchestre de Paris, which premiered it in May 1977. This work clearly shows the influence and the alterations that electro-acoustic practices infer on orchestral writing practices. Besides Eloy's long electro-acoustic productions, Fluctuante-Immuable suggested a new (theoretical and practical) way of addressing issues related to "composing with notes".
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CD
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HT 016CD
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Butsumyôe (1989). For voices, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice and percussions. In Butsumyôe ("The ceremony of Repentance") the singer Yumi Nara (soprano) occupies the function of a first solo voice, whereas Fatima Miranda (vocalist) assures the function of the second accompanying voice. In Sappho hiketis, it is the opposite: Fatima Miranda occupies the function of the first solo voice, and Yumi Nara assures the function of the second accompanying voice. But in practice, the vocal activities are mixed, creating an actual creative vocal duet. These two works are freely conceived and of pure imagination, which lean on not any pre-existent "model". Butsumyôe is a long monologue for voice that sings, speaks, shouts, and is modulated with a host of techniques, punctuated by the exclamations of the accompanying voice and by various percussion instruments played by the two female singers. Sappho hiketis (1989). For voice, percussions and electroacoustic. With Yumi Nara and Fatima Miranda, voice. A vocal duet articulated from an electro-acoustic piece (realized during the production of Anâhata at the Electronic Studio of the Sweelinck Conservatory in Amsterdam). The basic material is composed of pre-recorded metallic percussion instruments (samplings realized in 1984 by Michael W. Ranta). Prosody and vocal technique: unlike the previous piece, the text is used in a very broken up mode, with somewhat scattered phonemes, also integrating a listing of the names of Sappho's most famous female lovers. The adaptation of the text (in modern Greek) is totally free and makes no reference to the metrics or musical modes allegedly used by Sappho.
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2CD
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HT 017-018CD
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Songs for the other half of the sky. With Erkos (1990-91) and Galaxies (1986-1996). Performed by Junko Ueda (satsuma biwa and voice) and Jean-Claude Eloy (sound projection). "Erkos" is a word from the Indo-European language and means song, praise. It is close to the Sanskrit word Arkas (hymn, chant, radiance) and to the Tokharien term Yarke (reverence, homage). The texts consist of extracts from the Devî-Upanishad and Devî-Mâhâtmya writings, in Sanskrit. In those texts, an homage is paid to the Goddess who, in Indian philosophy, is considered as the mother of all energies. Erkos was commissioned by the Cologne Westdeutscher Rundfunk (WDR), at the invitation of Karlheinz Stockhausen, in collaboration with the Institut Français de Cologne and was produced in its entirety in 1990-91 at the WDR Electronic Studio. The electroacoustic materials are essentially concrete in nature and have been drawn from three sources Junko Ueda's voice, Satsuma Biwa (plucked string instrument with plectrum), Unban (metallic plate with complex resonance). Consequently, the recording studio is not used here as a generator but as a "multiplier-transformer" to the soloist, who is the real origin of all sounds. Galaxies is an electroacoustic work composed of two large groups of elements, contrasting with each other in function, construction, etc. but still unified as they are born from the same sources of timbre and treatment: the Japanese Shô (traditionnal mouth organ) from which all of the work's sound material is taken, to which are added an ensemble of five Bonshô's (temple bells from Japan and Korea).
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