|
Recent Best Sellers
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP+CD
|
|
WRWTFWW 020LP
|
LP version. Marks the title's first ever vinyl release; Cut at Emil Berliner Studios; Housed in a 350 gsm sleeve; Includes CD with all ten tracks. We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh's Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP), WRWTFWW Records present another release from the legendary Japanese percussionist: 1990's Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (saxophone, clarinet).
Sourced from the original studio masters (DATs); New liner notes with a poster inlay.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
JBH 067LP
|
An awe-inspiring sampler of the late, great musical polymath's music. From pop punk pop to field recordings, jazz, horror film music, ambient sounds, experimental ideas and all points in between. Many tracks have not been released before. Basil Kirchin was a unique talent. A man brought up as a drummer in the post-war big band era, he soon shunned the sounds of London ballrooms for world travel, marijuana, and spiritual enlightenment. On his return to London in the mid-1960s, he started work on experimental "sound picture music", a direction that led him into horror film music, library music, and eventually, to field recordings. He then developed the idea of slowing down the sounds of bird, insects, animals, autistic children -- anything he recorded in fact -- to reveal the hidden particles of sound that made them up. Mixing this with free jazz improvisation in 1969, he developed a new, peculiar sound that is now known as "ambient". Here, in this unique Trunk Record's sampler, the label offers a fascinating musical glimpse into his world, bringing together work from three decades, plus parts of a long conversation between Jonny Trunk and Basil Kirchin, recorded a few months before Kirchin died. There is unreleased film music, field recordings including autistic children from Schurmatt, music for advertising, the opening of Quantum (JBH 003CD), brilliant mixes of jazz and birds ("Charcoal Sketches"), the newly discovered digital post punk classic "Silicon Chip", plus brilliant and moving homages to his life with Esther, his wife. Together it makes extraordinary listening. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
BEC 5543140
|
La Confusion is the eighth full-length album from Malian musical duo and Grammy-award nominees Amadou & Mariam. The album includes the hit single "Bofou Safou", which Stereogum calls "the funk, the whole funk, and nothing but the funk." The term "bofou safou" is a Bambara (Malian national language) nickname given to nonchalant young men who would rather dance than work. Over the span of three decades, Amadou (guitar and vocals) and Mariam (vocals) have developed an international following, recorded eight full-length albums, and toured around the world. Their album Welcome to Mali (BEC 5156468, 2008) was nominated for "Best Contemporary World Music Album" at the 52nd Grammy Awards. On the ensuing tour they supported U2 on their U2 360 Tour, performed at the 2010 World Cup for FIFA's Kick-Off Celebration, and performed alongside a host of major acts. Don't expect a still frame of African music; Stillness has never been part of their repertoire. The road stretches far behind them as Amadou & Mariam march on, bound by an unbreakable chain in their tireless search for new horizons. Creativity and generosity have never ceased to shine through their eight full-length albums. At their core lies a skillful fusion of heritage and cutting-edge music.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BAM 7019LP
|
LP version. 180 gram vinyl. Bamboo present the first ever reissue of Paul Bley's Improvisie, originally released in 1971. Recorded Live March 26th, 1971 at Club B14 in Rotterdam, Netherlands, Improvisie is a part of the 1971 trilogy of Paul Bley and Annette Peacock's combined experimental recorded work. Together with recent reissues of 1971's The Bley Synthesizer Show (BAM 7020CD/LP) and 1972's Dual Unity (BAM 7018CD/LP), Improvisie is taken from a compelling period for two iconic figures of the free jazz movement, and their pioneering use of the first-ever Moog synthesizers. Includes expansive liners with interviews and rare archival photos; Professionally remastered original sound recording.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ASH 3002LP
|
2017 repress. Deluxe LP format; 180 gram pressing. Reissue of the second Flower Travellin' Band album, originally issued by Atlantic Records in Japan in 1971. Satori is a conceptual hard rock/psych album driven by Hideki Ishima's furious guitar licks which erupt and explode over the harmonic heart beat of the drums and bass. Yamanaka's banshee-like vocal style turned him into an occidental Iggy Pop or Robert Plant while the band itself was rapidly becoming Japan's answer to Led Zeppelin. Satori is a huge album in every way. From power chords to Eastern-tinged North African six-string freak-outs and crashing tom-toms, the band flexes its collective muscle from start to finish. In short, this is a real rock classic of the type they simply don't make any more.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
VCR 011LP
|
Impossible-to-find Italian library music oddity from semi-mythical producer and Fabio Frizzi collaborator Giuliano Sorgini, aka Raskovich. Best regarded for his groundbreaking electro-acoustic and concrète sound design input to The Living Dead At The Manchester Morgue (1974) and Zoo Folle (1974), Raskovich is also linked to a wealth of impossible-to-find cult LPs with Alessandro Alessandroni's Braen (SME 038LP), Giulia Alessandrini's Kema, and their mysterious supergroup The Pawnshop, all amounting to a catalogue which assures his place in the pantheon of library music greats. Going deep into their under-the-counter channels, Dead-Cert have again outdone themselves with this outing, salvaging Science & Technology from total obscurity to reveal an innovator working at the full extent of his avant imagination in a sort of cybernetic symbiosis with his studio-as-instrument. Keening between sounds as much suited to a blood-lusting horror as a psychedelic, drug-fueled thriller or some esoteric sci-fi, he penetrates and opens up vividly magnetizing realms of abstraction that just beg to be explored by listeners who think they've heard it all before. Erring closer to the kind of minimalist negative space and fractured dynamic favored by Belgium's IPEM, or even pre-echoing the atonality of Maurizio Bianchi, for example, as opposed the fluffier lounge tendencies found on many recent reissues from his field, Science & Technology lives up to its title with impressionistic depictions of industry and plugged-in life evocatively animated under titles such as "Fissione Nucleare" and "Biochemica", or accurately modelling processes in the mutant, polymetric patterning of "Germinazione". An album like this is a reminder of the prescient collective and individual genius of the Italian library music scene, especially at a time when the quality levels, in terms of musical intrigue and uniqueness, not just presentation, is being called into question by a swell of inferior, or just plain unnecessary library music relics. As Dead-Cert co-curator Andy Votel explains: "this release is quite unlike the many projects that have recently flooded the reissue market and stands up as one of the truly unobtainable and wholly original records to come from this important era of European studio music by a composer whose reputation is slowly approaching monarchical status."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 014LP
|
We Release Whatever The Fuck We Want Records present a reissue of the highly sought-after electronic/sci-fi disco/proto-techno/ambient masterpiece Voice Of Taurus by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since its original release in 1978. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear -- transformed and customized à la Spoerri --, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind (1977), Bruno Spoerri envisioned Voice Of Taurus as "electronic pop conceived using an experimental and jazz approach". The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes, krautrock explorations, and retro-futuristic disco madness. It's unique, catchy, cosmic, and meditative -- it's a must have for all record collectors of the galaxy... welcome to Planet Spoerri. Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
NA 5151LP
|
Double LP version. "The 6th entry in the Now-Again Reserve Edition series is the definitive reissue of a lauded and misunderstood Krautrock album as well as the first band-sanctioned reissue in the series. The most mysterious Krautrock album, German Oak's Down In The Bunker has been fetishized and demonized, lauded and misunderstood for nearly four decades. In this definitive Reserve Edition of the album, the German Oak trio -- together again after 30 years apart -- have approved the remastering of their 70s music; finally tell the story behind the creation of their dark, brooding album -- and the occult-obsessed record collector behind the original album's release and its myth -- and they share previously unreleased music and photos."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
WRWTFWW 020CD
|
We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh's Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada's Through The Looking Glass (WRWTFWW 018LP/WRWTFWW 019CD/LP), WRWTFWW Records present another release from the legendary Japanese percussionist: 1990's Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (saxophone, clarinet).
Sourced from the original studio masters (DATs); New liner notes with a poster inlay. CD version comes in a digipak.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
MFM 020LP
|
Following 2016's compilation of archival recordings by Suso Saiz titled Odisea (MFM 009CD/LP), Music From Memory mark their 20th release with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz's first release of new music in nearly ten years. Titled Rainworks, this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own memory. As Suso himself explains, he became fascinated with the possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind. Suso, his son Emil Saiz, and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in Rainworks. Developing from the original commissioned tracks into a much more elaborate project, the album's process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, Rainworks was in entirely composed by Suso. Whilst on one hand it appears very much as an electronic album there are in fact many acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso's inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
12"/PIC DISC
|
|
OM 038EP
|
"I fell in love with Coil's music as a teenager in the 1980s. . . . In 2008, Domino Records invited Optimo to put together a compilation of music for them to release. I wanted to include Coil's 'A Cold Cell' and after approaching Peter Christopherson for permission to release it he suggested doing an exclusive remix for the compilation. How could I say no? The remix was titled 'A Cold Cell In Bangkok'." --JD Twitch, May 2017 Single sided 12" single; silk-screened image designed by Lindsay Todd.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
DDS 025LP
|
Robert Aiki Aubrey Lowe's incredible experiments with Harry Bertoia's sound sculptures are here documented on this beautiful new edition for Demdike Stare's DDS imprint, coinciding with his appearance on Semtember 2017's issue of The Wire magazine. Lowe is something of a polymath; having started out as part of math rock outfit 90 Day Men and doom metal trio Om, he progressed to forge his own solo work (often under the Lichens moniker), as well as a whole slew of collaborations, including work with Johann Johannsson on scoring both Arrival (2016) and Sicario (2015), an acclaimed album with Ariel Kalma for RVNG Intl's FRKWYS series, plus active involvement in site-specific video art and sound installations. His most recent work under his own name has seen him release diverse music for Type, Latency, More Than Human, and, of course, DDS who have, with this album, presented what might just be the most beautiful Robert Aiki Aubrey Lowe artefact thus far. In 2016, Lowe was commissioned by New York's museum of Arts and Design to contribute to a Harry Bertoia exhibition, which he undertook alongside video director Johann Rashid. He was asked to create sound recordings with Sonambient sculptures; metal rods and gongs that produce highly distinct, resonant sounds when struck, brushed, or touched. Beginning in 1968, Bertoia set up an eighteenth-century stone barn on his property in Barto, Pennsylvania, to house these sculptures and from which he would go on to record works for his highly collectable Sonambient label, as recently documented on Important Records' breathtaking box set (IMPREC 419CD, 2016) and reissue series. Lowe was given full access to the barn, beautifully filmed footage of which can be found on YouTube. Lowe's work with these sculptures is quite unlike anything you might have heard from those original Bertoia recordings. Instead of serendipitous improvisation, Lowe weaves his way through the sculptures on a path that was mapped out in advance, imbuing them with a more "composed" and arranged feel. As well as that familiar and distinct sound palette, he subtly manipulates and feeds in vocal layers that take proceedings into ever more ethereal and haunting dimensions. Mastered and cut by Matt Colton.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HOS 491LP
|
A vinyl issue of Prurient's Unknown Rains, originally released as a limited edition cassette in 2016. Utterly destructive and heart-wrenching power noise and catharsis from the don gorgon of Hospital Productions, making his first album confession since the release of the stunning Frozen Niagara Falls (2015). Taking almost 40 minutes to spell-out a litany of ills that mark up as classic, pain-saturated Prurient in contrast with the more layered, nuanced narrative and more complex production values of his last album, the set boots-off with the infernal backdraft and flagellating vox of the album's most succinct piece, "Let Your Mind Free (Whip The Corpse)". Sharp blasts of noise distortion conceal a forlorn Fernow vocal, like that classic Lynchian conceit of obscuring dialogue at the most crucial moment, perversely enhancing narrative through obstruction. It's a brilliant, disturbing, opener. Sore chord progressions and those same distanced vox crushed by needling distortion fill the nine minutes of "Before Rain Becomes Snow" with much emotional impact; revealing a sort of disturbed and buried shoegaze appeal that sounds like a Grouper x Prurient recording session from another dimension. However, the album's most captivating track comes with the gaping black-holer, "In The Ruins Of My Brother" -- where the distortion dissipates to the edges, allowing vast blooming bass flares and slithering high registers to wrap around the neck with a spacious, full-spectrum dominance that recalls Prurient's Pleasure Ground (HOS 467LP) classic, before "Red Poppy Laughter" slips back into an opiated sort of naval-gazing noise bliss. Cut at Dubplates & Mastering, Berlin. Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
LOV 2005LP
|
David Crosby, live at the Matrix, San Francisco, December 15th, 1970. Recorded for broadcast on KSAN-FM, before a small San Francisco audience as Crosby completed his classic solo debut (issued in February 1971), this superb set finds the former Byrd moonlighting from CSNY and collaborating with three members of the Grateful Dead on a mixture of standards and more recent compositions. The singing and guitar playing are outstanding throughout, and this release is sure to delight his many fans. Includes background notes, with an interview with David Crosby from Rolling Stone Magazine July 23rd, 1970, and photos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BAM 7020LP
|
LP version. Bamboo present the first ever reissue of Paul Bley's The Paul Bley Synthesizer Show, originally released in 1971. This stunning album was recorded over three sessions in New York City on December 9th, 1970, January 21st, 1971, and March 9th, 1971. The Paul Bley Synthesizer Show produces new songs and tough translations of previous works from Mr. Joy while joining the likes of other seminal works in 1972's Dual Unity (BAM 7018CD/LP), 1971's Improvisie (BAM 7019CD/LP), and Bley-Peacock Synthesizer Show's Revenge: The Greater The Love, The Bigger The Hate (1971). Featuring the songs of Annette Peacock, this collection sets another milestone in the abstract, free jazz spectrum and joins the above trilogy in celebrating an innovative and iconic figure. A classic piece of Paul Bley's work with synthesized free jazz in the 1970s -- an essential release for fans of free jazz, fusion, and progressive music. Includes liners with interviews, background notes, and rare archival photos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HH 3088LP
|
LP version. The New Tony Williams Lifetime, featuring Allan Holdsworth, live from the Village Gate, New York, September 22nd, 1976. In 1975, the groundbreaking drummer Tony Williams assembled a new version of Lifetime, this time featuring the visionary guitar of Allan Holdsworth, as well as Alan Pasqua's innovative keyboards and Tony Newton's funky bass. They collaborated on two albums, as well as playing acclaimed gigs. Their unique brand of fusion is perfectly captured on this remarkable set, originally broadcast on WRVR-FM in New York. The entire broadcast is presented here, digitally remastered, with background notes and images.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CACK 020LP
|
Cacophonic present a first time vinyl reissue of a pioneering album of French free jazz, François Tusques's Free Jazz, originally released in 1965. Comprising some of the earliest, uninhibited performances from musicians behind groundbreaking European records and films, Free Jazz captures the birth of an exciting movement that would soon earn its Parisian birthplace as the go-to European spiritual home of improvised and avant-garde music. Spearheaded by pianist and composer François Tusques, this 1965 French album laid the foundations -- alongside Jef Gilson's 1963 album Enfin! (OI 020LP) -- for a unique satellite brand of jazz that would later provide visiting Afro American avant-garde players with a vibrant Parisian platform. With Free Jazz, you not only hear the unique differences within the Gallic approach to the art form (combining masterful somber cinematic changes with aerated free-form percussion and erratic reed and brass), but you also witness the early, lesser savored secret ingredients that would carry France's mainstream pop culture into truly uncharted and unrivalled territories. Best known as the soundtrack composer to the horror-tica films of Jean Rollin, Tusques is joined here by sax and flute player Francois Jeanneau, who later led Triangle, France's leading French language prog-jazz-rock act. Featuring three players from Enfin!, Free Jazz combines the skills of Jeanneau, with clarinet player Michel Portal, and trumpeter Bernard Vitet. In addition to this, Free Jazz also boasts the inclusion of double bass master Bernard "Beb" Guérin, a contributor to Sonny Sharrock's Monkey-Pockie-Boo (1970). It is by no coincidence that this carefully selected ensemble would be enlisted as the backing group for politically driven singer-songwriter Colette Magny (arguably influencing Brigitte Fontaine to adopt The Art Ensemble Of Chicago as her backing band). This album also captures a rare glimpse of percussionist Charles Saudrais in free-form mode after his departure from the Barney Wilen Quartet, resulting in the follow-up record 1970's Le Nouveau Jazz (CACK 014LP) for actor Marcel Mouloudji's privately funded label. This glimpse into a seldom documented underground of a domestic, revolutionary, uncompromised spiritual art-form reveals the other-side of abstracted French music which, alongside musique concrète, protest pop, symphonic rock, and Zeuhl-skool electronic prog, created a homegrown, self-contained music industry that influenced a universe of Gallic magnetic inspiration. Taken from Tusques's master-tape archive. Features two rare original outtakes which did not appear on the original album; Includes a facsimile of the original Tusques-penned booklet.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2x10"
|
|
ARTYARD 102EP
|
A double 10" set featuring Sun Ra recordings. Initially released on two separate 10"s back in 2010/13. Volume 1 features "Along Came Ra", a previously unissued live track recorded in Paris in 1983. The legendary Disco 3000 concert tapes are on the flip. Volume 2 lifts three fine selections from the Sub-Underground Saturn LPs. "Love Is For Always" and the driving, roots-y "The World Of Africa" come from 1974's Temple U; while the myth-science poetics of "Space Is The Place/We Roam The Cosmos" comes from the 1975 What's New set.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
BT 029LP
|
Hotel Record is the second release from the duo/couple of crys cole and Oren Ambarchi, following on from Sonja Henies vei 31 (PLANAM 031LP, 2014). Where their debut recording presented a disquieting portrait of the erotic dimension of romantic intimacy, the follow-up continues to explore the pair's simultaneously musical and romantic relationship in a more subtle fashion, presenting four long-form pieces that touch on the variety of forms the life of this couple takes: as a musical duo, as a pair of travelers to exotic locations, as opponents in a game of cards... Each of the double LP's four sides presents a distinct sound-world, yet each manages to attain the same suspended, half-sleeping feeling, outlining a space where improbable combinations of the electronic and the acoustic, of extreme closeness and amorphous distance, occurring with the gentle insistence of a dream. The opening "Call Myself" calmly unfolds a fabric of long tones from electronic organ and guitar, combining the sliding, aleatoric effects of classic David Behrman with a more hands-on feel. Over the top of this slowly shifting tonal bed, cole's voice mutters unintelligibly into a Buchla synth, teasing the listener by suggesting a meaning that remains always out of the ear's reach. "Francis Debacle (Uno)" builds on the foundations of a heavily amplified session of the titular card game, overlaying vocal murmurs and exhalations and mysterious room-sounds to create an impossible aural environment. On "Burrata", a palette of vintage 1980s digital synthesizer sounds combined with guitars create an irregular texture of lush chords and bubbling melodic details, into which cole's voice processed by a vocoder, is interwoven, reading fragments of romantic correspondence. Finally, on "Pad Phet Gob", field recordings made in Thailand become an ambiguously acoustic/electronic rainforest, eventually giving way to a mysterious, wavering electronic tone-field punctuated by sibilant, popping mouth-sounds. Carving out an intimate and human sonic space across a diverse array of compositional approaches, sound sources, fidelities, and textures, Hotel Record is the latest dispatch from the continuing explorations of a unique duo. Ambarchi and cole reimagine electro-acoustic music, not simply as "abstract" sound, but as a diary, a love poem, a dream. Comes in deluxe gatefold sleeve with photography by crys cole and LP design via Stephen O'Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MIE 045LP
|
David Toop, on hearing Áine O'Dwyer's Gallarais and the subsequent conversations between November 2016 and January 2017. "Sleep music, the underworld. Twenty-six letters were sent, not far to travel, from Proust, hypersensitive writer to his upstairs neighbour, Marie Williams -- 'I was rather troubled by noise . . . I was trying to sleep off an attack. But at 8am the tapping on the parquet was so distinct that the Veronal didn't work and I woke with the attack still raging.' Marie Williams played harp, though it was not the harp that dragged Proust from the fumes of a bedroom armed against asthma attacks, cork-lined to smother noise.. . . Proust spoke of an imperceptible breath, 'like the wind breathing into the stem of a reed', mingling with the subdued song of his dying grandmother's breathing, 'swift and light . . . gliding like a skater towards the delicious fluid', the human sighs released at the approach of death . . . 'Who's there?' cries out the old man, stark terror pulled awake at the faintest of noises from pitch black vicinity of an unseen doorway. . . . There is one voice or two, whispers of shaping breath thrown into far obscure and occult recesses of the space as if spirits on the wing whose feathers shriek and keen. They are swans with near-human heads, carrying the lightness of souls, moving between dry land of the living, subterranean rivers of the dead. Sleep music they make, its murmurs written by the method of 'passive writing', a transcribing of tongues unknown to all but the most open of listeners. . . . The space was a cave, a tunnel, a room without windows. A skull without eyes, ears, nostrils, mouth, though as Beckett had noticed, the soul turns in this cage as in a lantern, silence 'beating against the walls and being beaten back by them'; the space was a chapel, upturned boat, perhaps the curragh that carried Maildun and his crew to the Isle of Weeping, the Isle of Speaking Birds, the Palace of Solitude. . . . 'Within a house described by Mary Butts, in Ashe of Rings (1998), the bronze note of a clock rings, 'like a body falling bound into deep water'. . . . The body descended into the tunnel, never to return as itself."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FFL 028LP
|
Souffle Continu Records present the first vinyl edition of Jac Berrocal's La Nuit Est Au Courant, originally released on In Situ in 1991. Ornette Coleman's "Lonely Woman" on the radio, Renaissance motets, his grandfather in a Zouave military band, Syrian deserts... Columns of tanks in the streets, the soundtrack to Robert Bresson's A Man Escaped (1956), Juan Manuel Fangio's car, the fall of the Berlin wall: from the first and fantastic Musiq Musik (1973), this is where Jac Berrocal's trumpet comes from -- an indescribable cataclysm to which he constantly returns for inspiration. When he published, at the beginning of the 1990s, La Nuit Est Au Courant, Jac Berrocal had already recorded his famous "Rock'n'Roll Station" and collaborated three times with Nurse With Wound, he figures on their 1979 list as an important avant-garde influence. In Situ, the French label which published this album, produced several other historically important albums in the same year by people like Steve Lacy, François Tusques, Un Drame Musical Instantané, and Daunik Lazro in a duo with Joe McPhee: such were the times. Backed by two bassists (including the jazz critic Francis Marmande) and a drummer, Jacques Thollot (who recorded Jeter La Girafe À La Mer (1971), one of the highlights of the French underground), Jac Berrocal does here what he does best: defy labels and slalom between genres; constructing a strange kaleidoscope of enchanting mish-mash. "What is vulgar... ", he states, "... is to refuse what pleases you". Jac Berrocal refuses nothing and tries everything he can imagine. With the trumpet multiplied here and there by reverb, the nocturnal perambulations for insomniacs of La Nuit Au Courant make it an ambient album with Prague, Sartrouville, Ivry-sur-Seine or East Berlin amongst the backdrops... An album of what Fernando Arrabal called "panic music", an elegant term for "no wave"... Listening to it over and again, it sounds like Don Cherry jamming with David Bowie and Brian Eno in Berlin. There is one thing you should know: Jac Berrocal is an intrepid man. He stands exposed -- and "sullies his soul", on the edge of the precipice. The nights are all-knowing. Licensed from In Situ. Obi strip; Reverse printing; Includes four-page booklet; Edition of 700.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HOS 342X-LP
|
Released on vinyl for the time, Jungle Black Magic And Highlands Green Sorcery is the most substantial and disorientating release in the Rainforest Spiritual Enslavement vinyl series yet, clocking in at 40 minutes and deploying some of the most uncomfortably humid productions in Dominick Fernow's arsenal. Jungle Black Magic marks the third in a series of first-time vinyl editions of early RSE material. It was originally released as a double cassette release in 2012 in an edition of 49. Stalking phantom apparitions and infrasonic illusions from the dankest sectors of his imagination, Fernow plays voodoo tricks on charred opener "The Case Of The Male Witch From Goroka" -- a tropical downer underpinned by larger than life sub-bass rumblings and what sound like field recordings of YouTube rainforest nightscapes rendered in abstract, digital form. "The Verdict Handed Down By A Kangaroo Court" furthers trance induction with a more tribal alignment of drums, before "For The Next Three Days There Was An Eerie Silence In The Village" ends the set with a completely bewildering alignment of synthetic sounds designed to play tricks on your senses; somewhere between a dark meditation aid and a reworked soundtrack to Predator (1987) -- the vibe exceptionally heatsick and paranoid. These pieces operate in paradoxical dimensions where the calls of exotic birds convey a denseness that's at odds with acres of negative space. It feels like standing in a deforested land at the edge of thick jungle, the effect is uncannily transportive; your mind constantly grappling with contrasting sensory triggers. How can something this ice cold also convey such suffocating heat? It makes for an incredible, pretty much unique listening experience; like fourth world ambience but in some kind of Lynchian above-the-convenience store dimension. Remastered by Paul Corley; Cut at Dubplates & Mastering. RIYL: Coil, Demdike Stare, Prurient, Brian Eno & Jon Hassell's 1980 album Fourth World (GB 019CD/LP). Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ARTYARD 014B-LP
|
2017 repress of Art Yard's 2015 reissue. Originally released in 1977 by Sun Ra's El Saturn label. Includes printed inner sleeve. As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognized. As well as holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk, and John Coltrane, with whom he appeared on Africa/Brass (1961). But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play (1967), Jazz in Silhouette (1959), and The Nubians of Plutonia (1967), among dozens of others. But as a bandleader, Patrick only released one LP -- the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and René McLean. Sound Advice is a deep-hued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia on which higher adepts of the lower cosmic tones are heard in rare conference. Unissued since original release, this unique jazz masterpiece now returns to the limelight. Released in collaboration with the Pat Patrick estate. Remastered and restored sound. Liner notes by scholar and musician Bill Banfield.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
RCD 2194CD
|
Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn't fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman's Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced while Hans Magnus Ryan (Motorpsycho) added bits and pieces and Jim O'Rourke beamed in his exquisite contributions to "Sunrise" from Tokyo. Bill Frisell, Nels Cline, and David Torn delivered their solo interpretations, Cline with the aid of cellist Erik Friedlander.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 015LP
|
We Release Whatever The Fuck We Want Records present a reissue of the extraterrestrial cult classic The Sound Of The UFOs, a collaborative effort between Swiss jazz and electronic music icon Bruno Spoerri and innovative drummer extraordinaire Reto Weber, available on vinyl for the first time since its original release in 1978. Recorded live in Zurich in March 1978, The Sound Of The UFOs finds Bruno and Reto improvising with a vast array of classic and customized synths and percussions from all corners of the globe (and the galaxy). It's cosmic free jazz in audio gear heaven with a heavy dose of ambient, krautrock, primitive proto-techno vibes, and experimental space disco with a musique concrète mentality -- anything's possible when a jazzman and a percussionist obsessed with finding new sounds collide and explore uncharted sonic territories. This groundbreaking gem is the ideal companion piece to Bruno Spoerri's highly coveted Voice Of Taurus LP (WRWTFWW 015LP). Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
HH 3088CD
|
The New Tony Williams Lifetime, featuring Allan Holdsworth, live from the Village Gate, New York, September 22nd, 1976. In 1975, the groundbreaking drummer Tony Williams assembled a new version of Lifetime, this time featuring the visionary guitar of Allan Holdsworth, as well as Alan Pasqua's innovative keyboards and Tony Newton's funky bass. They collaborated on two albums, as well as playing acclaimed gigs. Their unique brand of fusion is perfectly captured on this remarkable set, originally broadcast on WRVR-FM in New York. The entire broadcast is presented here, digitally remastered, with background notes and images.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
WRWTFWW 019LP
|
Repressed. LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
ELP 030LP
|
Trax Test is the first ever survey of Italy's pioneering, visionary, and influential label and mail art collective Trax, which ran from 1981-1987 as a network for the creation of collaborative projects. The collective included a pre-NWW Colin Potter and some of the earliest work from Masami Akita, aka Merzbow, but also had deep connections with the art world; a few Trax members went on to become famous designers and artists -- Ettore Sottsass of hugely influential Memphis Group even guests on vocals on the last track of the compilation. The whole selection here is rare as heck and sorely in-demand by collectors, much of it now making its vinyl premiere some 30-odd years after the fact. With credit due to compilers Vittore Baroni of Trax and Ecstatic's avowed wave fiend, Alessio Natalizia (Not Waving) -- who was also behind the Mutazione (Italian Electronic & New Wave Underground 1980-1988) compilation (2013) -- Trax Test is a portal to the international scene which laid the grassroots for a proliferation of electronic music over the proceeding decades -- a pioneering part of the infrastructure for independent music distribution which could be said to pre-echo the myriad social networks and platforms today. As Frans De Waard astutely points out in the 16-page booklet, there were no "templates" for this thing back then, meaning artists did everything DIY: from cutting, pasting, and Xeroxing their artwork to experimenting with recording techniques and disseminating their work; all resulting in a wonderfully daring and freeform mosaic of ideas which valued the virtues of ostensibly "unfinished" or open-ended work. Traces of disco, cosmic krautrock, jazz, electro-pop, and industrial noise are all tessellated across the compilation's 25 tracks, with a number of artists and the same equipment -- cheap drum machines, synths, FX and tape -- cropping up in various, mutant formations. This set is right up there with the best compilations from Vinyl On Demand, Light Sounds Dark, or Minimal Wave. Features: Cancer, M.A.Phillips, Nausea, Amok, Mecanique Vegetale, Daniele Ciullini, E-Coli, The Cop Killers, Peter Mayer, Rod Summers, Robin Crozier, Capitalist Pig, Biagio D'egidio, Piermario Ciani, Vittore Baroni, Nocturnal Emissions, De Rezke, Ado Scaini, Enrico Piva, Giancarlo Martina, B Sides, Colin Potter, Naif Orchestra, Merzbow (Vacation Of Merzbow Lowest Music & Arts), Monty Cantsin, Die Form, Utopia Production, Spirocheta Pergoli, Nostalgia, Ptose, Ddaa, Zone Verte, and I Nipoti Del Faraone. Mastered by Matt Colton at Alchemy.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
3CD
|
|
SR 435CD
|
Complete Music For Films 1960-1984 is a three-CD set that gathers Luc Ferrari's complete works for films from 1960-1984, including electronic pieces, concrete music made in GRM, and some hybrids including traditional instruments. Very rare pieces, most of which are unpublished (including collaborations with Jean Cocteau and Jean Tinguely), are presented here for the first time, offering a complete scope of the innovative 20th century composer's foray into film music. Complete Music For Films 1960-1984 is released as a part of Sub Rosa's Early Electronic series. Includes two texts by Philippe Langlois, author of Les Cloches d'Atlantis (2012), and Guillaume Contré, rare photograms from films, and some handwritten notes by Ferrari himself.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
MTE 068LP
|
2017 repress. Simultonality is the follow-up to Joshua Abrams's critically acclaimed 2015 album Magnetoception (MTE 063-64LP, 2015). Credited to Joshua Abrams and Natural Information Society (NIS), it is the first recording in the project's nine year, four album history made by a regularly gigging manifestation, rather than a special assembly of friends. Recorded in 2014 and 2015 in single takes by the full ensemble during and after tours of the US and Canada, Simultonality once more affirms the project's unique approach to joining traditional musics, American minimalism, and jazz with the Gnawa ceremonial instrument the guimbri. Stasis, continuity, and repetition, central qualities of Abrams language, defined Magnetoception, listed by many as one of the best records of 2015. These same qualities form the heart of Abrams's music on Simultonality. But where Abrams once said Magnetoception is about "winter and death", Simultonality, in Abrams's words, is an album of "pure motion". Without sounding frenetic it is the most explosive NIS music on record, and without sounding over-determined, it is Abrams's most structured and through-composed music yet. Much of it is also fast, a mass of densely patterned elements swiftly orbiting constantly reconfiguring centers that are variously harmonic and rhythmic, clearly stated or implied. The music is at no time any more disorderly than a colony of bees pollinating a vast garden. Its many moving parts function in mutualistic relationship toward fulfilling Abrams's long stated intention for the project: to help listener's achieve a meditative center and to consciously use music as a gateway to living. Abrams credits William Parker as an inspiration for this intention. The musicians on Simultonality date back to the nascency of NIS. Along with Hamid Drake, Mikel Avery and Frank Rosaly are Abrams first-call drummers for the project. On Simultonality, Avery is in the left channel, Rosaly the right. Astute heads may recognize the rhythm in "Sideways Fall" as Jaki Leibezeit's drum break in Can's "Vitamin C". At Abrams behest, the two drummers divided the beat into separate parts. According to Hamid Drake, the rhythm was popularized, if not originated, by John "Jabo" Starks and Clyde Stubblefield of the J.B.'s. Nearly ten years into its existence, Abrams and the NIS wear their influences with creativity and ease. Long standing NIS members, Ben Boye and Emmett Kelly, were previously together with Abrams, or not, in Bonnie Prince Billy's band, and Abrams and Boye have at different times played in Kelly's band The Cairo Gang. Harmonium player Lisa Alvarado contributes the large format pattern paintings used by NIS at concerts and for its album covers. Personnel: Joshua Abrams - guimbri, bass, small harp, bells; Lisa Alvarado - harmonium, Leslie, percussion; Michael Avery - drums and percussion; Ben Boye - chromatic electric autoharp, piano, Wurlitzer; Ari Brown - tenor saxophone (on "2128½"); Emmett Kelly - electric guitar; Frank Rosaly - drums and percussion, resonator bells. Pressed on premium quality audiophile vinyl by RTI, presented in replica audiophile dust sleeves and heavyweight Stoughton LaserDisc jackets screenprinted by Alan Sherry/Siwa.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
ATON 002LP
|
First part of a two-part Function retrospective from Ostgut Ton sublabel A-Ton. A mixture of released and previously unreleased tracks, including Function's remix of "Falling The Same Way" by Sandwell District and "Golden Dawn (feat. Stefanie Parnow) (Version)" by Function. "Once a cathedral, now a mall, Limelight was last in the line of Manhattan clubs whose lineage could be traced back to New York's fertile club era of the '70s and '80s, which included the East Village punk and no wave scenes, the Mudd Club, Danceteria and the Paradise Garage. It's connected to a storied New York history -- sometimes holy, sometimes notorious. . . . 'A lot of things that were worlds apart met in that deconsecrated Episcopal church,' recalls David Sumner. 'I used to practically live in that club, going two or three nights a week for years. I knew this was what I was going to do with the rest of my life.' In many ways Limelight was America's rave incubator. On a New Music Seminar night in July of 1992, the revolution was about to take hold. 'Walking in, I didn't know what was going on. Then I started to see xeroxed Underground Resistance 8 1/2 x 11s all around the club, like the kind of inserts that came inside their EPs,' Dave recalls. He would go on to see Mike Banks, Rob 'Noise' Hood, and Jeff Mills perform for an electrified crowd as UR. 'That night straight up changed my life.' . . . New York itself is a major influence for Dave, as is its history of clubs -- from discos and house music, to techno and raves. Think of Todd Terry's 1988 Black Riot record or Boyd Jarvis' 1983 release 'The Music Got Me' as milestones on this journey. 'It's a DJ's approach to music. I remember in the early '90s when the music was changing so rapidly and it felt so revolutionary, separating my records into piles and thinking "I need more of this -- there needs to be more of this kind of record."' It's passion that drives this story of a life in music, and it's a desire to blow your mind the same way his inspirations blew his. Function is always innovating and finding new ways to connect the dots, to continually pursue the art of storytelling through giant slabs of sound." --Brendan M. Gillen, Interdimensional Transmissions, Detroit, 2017
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
CT 114LP
|
2017 repress. Landmark dub record from legendary reggae producer Lee 'Scratch' Perry', using a combination of established collaborators and new musicians (Upsetters, Lee Perry, Ricky and Bunny).
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
JBH 065LP
|
Tapes 1 represents the first ever sound recordings to be released from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you may have heard -- dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique. Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed, and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognized by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued in 2014 on cassette, in an edition of 50. Don't bother trying to find one of them. The music, sound, and speech have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Includes download; Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AT 007LP
|
LP version. The Trickfinger project was recorded ten years ago with no intention of being released at the time, made purely for discovery and learning experience. John Frusciante on the project: "In my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. The Trickfinger LP (AT 005CD/LP, 2015) was made in that mindset, and it was the beginning of a new musical life for me. When I hear it, it sounds like I am opening up doorways to new worlds, and I never have had that feeling listening to music I made for the purpose of releasing it and selling it." All the music was recorded live onto a CD burner, through a cheap mixer. John would sit on a chair, in his living room, surrounded by five to fifteen machines, and just keep programming and jamming until the track was ready to be recorded. There were no overdubs; it was recorded live. Acid Test unearthed these recordings and John agreed to have them released. Trickfinger II is the second part of recordings made during the winter of 2007.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
BAM 7020CD
|
Bamboo present the first ever reissue of Paul Bley's The Paul Bley Synthesizer Show, originally released in 1971. This stunning album was recorded over three sessions in New York City on December 9th, 1970, January 21st, 1971, and March 9th, 1971. The Paul Bley Synthesizer Show produces new songs and tough translations of previous works from Mr. Joy while joining the likes of other seminal works in 1972's Dual Unity (BAM 7018CD/LP), 1971's Improvisie (BAM 7019CD/LP), and Bley-Peacock Synthesizer Show's Revenge: The Greater The Love, The Bigger The Hate (1971). Featuring the songs of Annette Peacock, this collection sets another milestone in the abstract, free jazz spectrum and joins the above trilogy in celebrating an innovative and iconic figure. A classic piece of Paul Bley's work with synthesized free jazz in the 1970s -- an essential release for fans of free jazz, fusion, and progressive music. Includes liners with interviews, background notes, and rare archival photos. CD version comes with a full-color 12-page booklet.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
ELJ 001LP
|
Everland Jazz present a reissue of The Heath Brothers' Marchin' On!, originally released in 1976. "This obscure and difficult to find LP is the Heath Brothers' debut album and is considered to be their best. Marchin' On! is unquestionably a masterpiece and is a much sought-after album. With its wealth of riffs, it is much appreciated by samplers and has been sampled by various contemporary artists. It was originally released in 1976 on Strata-East, a label at the time co-owned by Stanley Cowell. The album flows fluidly, meticulously in a warm rich blend with the four part 'Smilin' Billy Suite' being a tour de force on its own. All suites have the same anchor in melody but each branches out to its own distinctive song varying from relaxed to light to dramatic and upbeat. The Heath Brothers was formed in 1975 by brothers Jimmy, Percy, Albert Heath and the much celebrated pianist Stanley Cowell in Philadelphia. The band continued later on with the brothers and alternate new members, with at one point the very talented 'Mtume' who is Jimmy Heath's son, joining." --Rachel Kinoti Licensed by Strata-East Recordings.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
AC 8070LP
|
LP version. The Runaways, live at the New York Palladium, on January 7th, 1978. A few months after the release of their third album Waitin' For The Night (1977), The Runaways started a tour with The Ramones. Their first performance was at the Palladium, New York on January 7, 1978 and it was broadcast on the King Biscuit Flower Hour. Featuring future solo stars Joan Jett and Lita Ford, the band burn through songs from each of their first three albums, as well as a few that had, at this point, only been heard on their Live In Japan LP (1977). The entire original King Biscuit Flower Hour broadcast is presented here, professionally re-mastered, with background liners and rare archival photos.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
CD
|
|
BAM 7019CD
|
Bamboo present the first ever reissue of Paul Bley's Improvisie, originally released in 1971. Recorded Live March 26th, 1971 at Club B14 in Rotterdam, Netherlands, Improvisie is a part of the 1971 trilogy of Paul Bley and Annette Peacock's combined experimental recorded work. Together with recent reissues of 1971's The Bley Synthesizer Show (BAM 7020CD/LP) and 1972's Dual Unity (BAM 7018CD/LP), Improvisie is taken from a compelling period for two iconic figures of the free jazz movement, and their pioneering use of the first-ever Moog synthesizers. Includes expansive liners with interviews and rare archival photos; Professionally remastered original sound recording. CD version comes with a full-color 12-page booklet.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
LPA 003LP
|
Far Out Recordings present the first vinyl reissue of Antonio Adolfo's Viralata, originally released in 1979. Far Out Recordings are working again with master composer, arranger, and pianist, Antonio Adolfo for the first time since releasing his Destiny album in 2007 (FARO 121CD). This time the label present his era-defining Viralata album: An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music, which Antonio himself describes as "a product of my hybrid musical influences that joins together flavors of marchinhas de carnaval, frevo, toada, classical, baião, mpb and jazz, etc." The album's first track "Cascavel" is the emotionally charged, celebratory dance anthem, which became a London jazz-dance classic in the early '90s after Far Out Recordings label boss Joe Davis discovered a handful of copies in a second hand shop in Sao Paulo and brought them back to London to sell to DJs like Gilles Peterson and Patrick Forge. In recent years the track has been played out by the likes of Floating Points, Mr Scruff, and Andrew Ashong, it was also the last song ever to play on the hallowed soundsystem of London's beloved club Plastic People. Sean McAuliffe of Plastic People & NTS Radio on its play at the club: "Saturday nights at Plastic People wouldn't have been the same without this album. 'Cascavel' was such an important track for the club, it was the last tune we played there before the doors were closed forever." Viralata sits comfortably on the same pedestal as Azymuth's 1979 album Light As A Feather (FARO 170CD) and Joao Donato's Quem É Quem (1973), which is no coincidence. All three keystone LPs were recorded and engineered by Toniniho, considered by many to be "the Brazilian Rudy Van Gelder", whose magic touches in the studio also helped to produce Marcos Valle's Previsão Do Tempo (1973) and Joyce's Água E Luz (1981), among many other holy grails and unassailable classics of soulful Brazilian music. Antonio's work has been widely performed by his legendary Brazilian contemporaries including Sergio Mendes, Emilio Santiago, and Erasmo Carlos, but also by platinum-selling American icons including Stevie Wonder, Herb Alpert, and Dionne Warwick. Following an early '70s spell of studying jazz in the USA, Viralata's release in 1979 arrived at the height of a flourishing period of Antonio's career. With his late '60s and '70s output following through on his influences of Tropicalia, funk, MPB, and easy listening, the almost entirely instrumental Viralata marked an apex for Brazilian jazz. Comes on 180 gram vinyl.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
RLP 3194LP
|
Double LP version. Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn't fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman's Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced while Hans Magnus Ryan (Motorpsycho) added bits and pieces and Jim O'Rourke beamed in his exquisite contributions to "Sunrise" from Tokyo. Bill Frisell, Nels Cline, and David Torn delivered their solo interpretations, Cline with the aid of cellist Erik Friedlander.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
PINCHE 001LP
|
So you think you've heard everything when it comes to rare and wild '60s rock n' roll, right? Oh well, you're dead wrong! Leave it to Mexico when it comes to rowdy, crazy, and catchy-as-hell, as this ass-kicking set of rare cuts proves to be without a doubt. Throw this piece of dynamite at your next lame party and prepare to see the universe go ape-shit. There's no way anybody with a minimum taste for untamed '60s music is not gonna love this one to death. Features: Los Polivoces, Los Geminis, Los Aragon, Los Boing, Luis Vivi Hernandez, Los Cuatro Mosqueteros, Los Six Kings, Los Rebeldes, Los Strwcks, Esteban Ramon Y Los Cuadros, Los Teddy Bears, Los Reno, Los Juniors, and Los Gueros. Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2CD
|
|
KOMP 140CD
|
Inaugurated in the summer of 1999, Kompakt's Total compilation series happens to be only slightly older than the 21st century itself -- which makes Total 17 the last instalment before the series hits adulthood. And indeed, the Total class of 2017 exudes a playful abundance few other compilations can match after 15+ years: label veterans and newcomers such as Superpitcher, Weval, Tobias Thomas & Michael Mayer, Chris Klopfer, Jürgen Paape, Voigt & Voigt, Max Scholpp, and Nu U Orchestra provide some of the catchiest material the series has seen to date. Like other Total compilations before it, Total 17 is first and foremost a perfect opportunity to delve into Kompakt's recent back catalog, with the The pièce de résistance, however, is the Total-exclusive content: eight brand new cuts from core Kompakt artists and selected label debutants that will please the collecting connoisseur as well as the ambitious dancefloor activist. Thomas/Mayer's "25" is a charming, bass-happy belter with a distinct Forever Sweet vibe, while Superpitcher teams up with Fantastic Twins for hazy dancefloor ballad "In My Head". Meanwhile, Kompakt's disco king of the hearts Jürgen Paape presents dreamy anthem "Always Disko", manipulating the space-time continuum with reversed vocals and plenty of ballroom glitz. Dutch duo Weval indulge in their expectedly brilliant beatmaking with the slow-burning, emotional "Metazoa", grooving nicely alongside the heartwarming neo-folk house of Chris Klopfer's "Ashamed (Raquet & Stetter Edit)" and Max Scholpp's hypnotic late-night electronica "The Dream". Jörg Burger helms the Nu U Orchestra together with Julienne Dessagne of Saschienne and Fantastic Twins fame, resulting in the flamboyant, guitar-infused pop jam "Ambrosia". And Voigt & Voigt return to their personal brand of psychedelic trance techno minimalism on "Tribute To A Greek God", a fittingly idiosyncratic contribution to the merry band of stand-out tracks collected on Total 17. Double CD version also features: Sebastopol, T.Raumschmiere, Vermont, Sasha, Poliça, Laurent Garnier, Kölsch, Clarian, Demian, Patrice Bäumel, Danny Daze & Shokh, Christian Nielsen, Locked Groove, The Orb, and Dave DK.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GBKS 1005LP
|
A recording of a cult event: The Grateful Dead, live at the Fillmore Auditorium on November 19th, 1966. Recorded before their first album came out (1967), this record features three primeval versions of tunes from their debut record and eight goodies, standards and originals, that were not featured on any official studio and live recording up to 1970's Workingman's Dead. This recording brings you right there, on a magic night in November 1966, when psychedelic rock was still something fresh and exciting and the emerging hippie movement had not exploded yet. That came half a year later with the invasion of Haight-Ashbury. But these recordings are not only of historical importance, their musical value is amazing. The band smokes on stage throughout the performance. The sound is muggy for sure, but each instrument comes through as it should and the simmering duels of guitar and organ make your head swirl. This album will certainly make the young generation of '60s music aficionados go crazy. A new beautiful cover artwork and great overall sound quality restoration make this album a joyful experience. And be sure that something like this 17+ minute version of "In The Midnight Hour" will have rarely hit your turntable. The overall atmosphere is just haunting. Even their official Live/Dead album (1969) doesn't reach this intensity. The release is reminiscent of early Doors or Iron Butterfly live recordings. A band at it's prime with the world to gain and nothing to lose.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
BNSD 022LP
|
After the sold-out cassette release of Stanza / Stanza II on Beacon Sound in 2015 (a co-release with Baro) and 2016's The Benoit Pioulard Listening Matter on Kranky, Seattle's Thomas Meluch returns with a brand new Benoit Pioulard album of ambient bliss. Floating on a plume of pure shoegaze, Lignin Poise conjures nature, specifically the waters and forests of the Cascadia bioregion, as ecstatic reverie. It is a work of deliberate renewal in a time of global tumult. A golden oasis of deep memory open to all seekers; hallucinogenic, like stumbling into one of the verdant. highly-oxygenated upper canyons of the Columbia River Gorge on a late spring morning, soaking in the warm humidity and cool mist. In Tom's own words: "I recorded this album during the fall and winter of last year, and it's thematically meant to trace a path through decay, death, and regeneration over the course of the tracks. My flat/studio is surrounded by deciduous trees (a huge deal for me especially since I live in the heart of the city) so those patterns were right in my face every day while I was recording. Lignin forms the support systems of vascular plants, so the title is intended to convey the posture and temporariness of life in full bloom."
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
GOBOP 007LP
|
Go! Bop! present a reissue of Hank Mobley With Donald Byrd And Lee Morgan, originally released in 1957. This is an ancient Blue Note rarity recorded at Rudy Van Gelder's legendary studio in 1956 with legendary bass man Paul Chambers doing the deep notes. First press originals in adequate condition go for about 500 Euros. So what does this sextet featuring trumpeters Donald Byrd and Lee Morgan with tenor saxophone hero Hank Mobley as bandleader and piano madcap Horace Silver backing the rhythm section with his extraordinary chord progressions have to offer? The album is widely labeled as "hard bop" and it shows a great development from the mid-to-late 1940s bebop scene where John Coltrane, Charlie Parker, and other now mystical protagonists brought the swinging dance music of the even older big bands to a new level of sophistication and still maintained an earthy and highly spirited atmosphere. Same goes for the hard bop and post-bop scene of the later half of the 1950s from which modal jazz and free jazz emerged within the wink of an eye. All four lengthy compositions on this album are still one step behind the next level, and show a playfully jamming band executing comprehensible harmony lines backed by tricky, yet enthralling grooves that in the end move straight forward despite the rhythm section playing mostly around the pulse. The duels of both trumpets and the tenor sax heat up ones soul as they are aligned with the racy rhythm patterns. The melodies themselves are quite cheerful and cool. When Paul Chambers takes the bow in one passage of the fourth tune "Mobleymania" and scratches some cool lines backed up with an ever-flowing drum pulse, nobody will sit still. All six musicians here are fairly well connected with each other in terms of playing tightly to what the next improvises. Mobley especially burns with every note he plays, and if you bushwhack through to the core which carries the steaming dialogues between trumpets and saxophone, you will find some maniacs building rhythmical patterns par excellence. This album certainly demands many spins before you will be aware of every beautiful detail. Indeed a classic of 1950s jazz aside from the greasy mainstream sound. Let's go wild with Hank Mobley, Donald Byrd, and Lee Morgan. Includes two bonus tracks.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
2LP
|
|
H 032LP
|
Vinyl edition of Three Sided Tape Volume 1, a collection of unreleased songs and instrumentals from Lil Ugly Mane, originally released in 2013. Includes a secret fourth side. "Smokeclears" features Ilwad Awale. "Part beat tapes, part odd-and-ends compilations, all dope, these collections covered all the ingredients in Ugly's supersonic cauldron, from noise-based experimentation to flat-out brilliant feats of lyricism (recorded through computer microphone) to found cassette samples, from cocaine cowboy-era funk-driven fruity loops beats to one-man black metal band practice. . . . It's a joyous wonder that more rappers haven't yet lifted beats from these tapes for their own purposes" --Samuel Diamond, Tiny Mix Tapes.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
HOS 490LP
|
Nico Vascellari and Nicolò Fortuni come out to play in the dark on their third and deadliest LP as Ninos Du Brasil, taking their fascinations with ritual musics -- from Brazilian Afro-Latin tribal rhythms to library music and freezing Scandinavian BM -- deep into the festering undergrowth of their shared, exotic aesthetic. Where the cover of their first album for Hospital Productions, Novos Mistérios (HOS 411CD, 2014), depicted a naked man covered by a leopard pelt, Marvin Gaye Chetwynd's oil painting of a screeching Chiroptera in flight on the Vida Eterna jacket makes a strong visual allegory for NDB's finer tuned spatial sensitivities inside, with their churning rhythms now embedded in fathoms of dread space and father shaded in layers of processed vocal chants, both punk, metal, and tribalistic. The big highlight is no doubt the closing cut, "Vagalumes Piralampos", where Arto Lindsay, the legendary founder of DNA, chimes in on a stygian, moonlit jag between the eyes of bossa nova, batacuda, and the sort of esoteric electronics also charted by Rainforest Spiritual Enslavement or Cienfuegos. But it only really makes sense after you've expended your energies along with the band thru monstrous techno shakedowns such as "O Veto Chama Seu Nome", the soca-like rush of "Condenado Por Un Idioma Desconhecido", or found yourself lost, without coordinates, in the pitch black breakdown of "No Meio Da Noite" and have been hypnotized by the stalking rhythms and atmospheres of "Em Que O Rio Do Mar Se Toma". The creation of this album, inspired by vampirism, was born from a collaboration between Vascellari and Fortuni with producer Rocco Rampino, whose love of dense textures and low-end bombast masterfully and cleverly couples with the bands explosive percussive charge, resulting in eight tracks that mimic sharp blades scything through a nocturnal jungle. RIYL: Psychedelic Warriors Of Gaia, Female, Vatican Shadow. Cut at Dubplates & Mastering, Berlin. Comes in a gatefold jacket.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
FFL 027LP
|
Previously unreleased, the three tracks on Pays Noir come from recording sessions held at the same time as those for the cult album No Man's Land (FFL 026LP), produced by Jef Gilson in 1976, and published on vinyl by Souffle Continu Records in 2017. Singled out at the time of its release by Actuel, Rock & Folk, and Melody Maker, the tabula rasa of No Man's Land is the result of free-flowing experiments born of chance, if the two musicians are to be believed. Indeed, their approach to free improvisation was uninfluenced by those in the know of what was going on in such circles, which makes it even more incredible. To emphasize the point, the saxophonist Evan Parker (already a leader in the field) remarked on the album at the time, surprised by the innovation of the two Frenchmen. Brimming with the same fervor as No Man's Land, mainly on guitar and drums (but once again, not only...), Jean-François Pauvros and Gaby Bizien invent an amazing unbridled chaos of instinctive combinations, which are the fruit of their immense complicity, born of days on end playing together, trying to transform the rebelliousness of rock into free-form sparks unlike anything heard before, and which are often poetic -- ah, that final song! Carried along by the frenzied clatter of Gaby Bizien, Jean-François Pauvros emerges without doubt as one the great French improvising guitarists, alongside Gérard Marais (Dharma Quintet, Stu Martin Trio), Joseph Dejean (Cohelmec Ensemble, The Full Moon Ensemble), Raymond Boni (who, like Pauvros and Bizien, is present on the Nurse With Wound list), Dominique Répécaud, Noël Akchoté, and Jean-Marc Montera. Furthermore, the duo has a crazy intensity heard only on recordings by duos such as Bill Orcutt and Chris Corsano, Arto Lindsay and Paal Nilssen-Love, Thurston Moore and John Moloney, and Mesa Of The Lost Women. A kind of French no wave ahead of its time. Licensed from Jean-François Pauvros. Obi strip; Reverse printing; Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP
|
|
PINCHE 002LP
|
Pinch Discos present a reissue of Rare Mexican Cuts Of The Sixties, originally released in 1988. The long out-of-print Rare Mexican Cuts Of The Sixties remains a milestone for fans of obscure and wild rock n' roll all over the world. Composed exclusively of covers, it shows no one can do it quite like those Mexican cats when it comes time to inject a good dose of savage craziness to revitalize well-known tunes, like "Jumping Jack Flash", "Gloria" or "Hey Joe". 15 tunes of pure Mex madness sure to set your adrenaline level over the roof, dig it! Features: Los Locos Del Ritmo, Los Anis, Los Apsons, Los Monstruos, Los Johnny Jets, Miguel Angel & Los Sharps, Los Belmont, Los Rockin Devils, Los Yakis, and Los Ovnis. Edition of 500.
|
|
|
# |
Artist |
Title |
Format |
Label |
Catalog # |
|
|
|
LP+CD
|
|
RLP 2195LP
|
A vinyl-only release of two epic outtakes that didn't make the main album, Sky Music: A Tribute To Terje Rypdal (RCD 2194CD/RLP 3194LP), due to lack of space. Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn't fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman's Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced. The Sky Music project also includes additional contributions from Hans Magnus Ryan (Motorpsycho), Jim O'Rourke, Bill Frisell, Nels Cline, David Torn, and Erik Friedlander. Includes CD.
|
|