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LP
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WRWTFWW 044LP
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WRWTFWW Records announce the full official reissue of two major works from the great Somei Satoh gathered into one LP: the mystic and meditative Emerald Tablet (1978) and Echoes (1981). Sourced from original masters and available on vinyl with liner notes by passionate Japanese music connoisseur/collector/critic/DJ, Masaaki Hara. Fall into the ambient vastness, let yourself go... Originally released by highly respected label ALM, these pivotal pieces of late '70s/early '80s Japanese experimental music majestically showcase Satoh's intuitive approach to composition and mastery of creating infinite worlds of sound from very, very little. Emerald Tablet, recorded at the fabled NHK Studio of Electronic Music in 1978, is a spellbinding take on musique concrète meets tape music relying solely on sound harmonics from tubular bell, cymbals, and "kin" (Buddhist standing bell) overdubbed endlessly, voyaging into vertiginous sonic depths. Echoes was composed for the Mist, Sound, and Light Festival, a ten-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, held on May 20-29, 1981. It was played in the Kawaji hot spring's Ojika river valley, with 8 gigantic loudspeakers set up on hills surrounding the stream and connected to an octuple channel-tape system -- thanks to a combined length of cables exceeding one kilometer -- while artificial fog rose from a ravine and laser beams shot up on the mountains. Cinematic and resonating, this breathtaking piece from Somei Satoh is a transcending sonic experience. Emerald Tablet / Echoes is reissued in conjunction with Somei Satoh's Mandala Trilogy + 1 double-LP (WRWTFWW 055LP).
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LYSERGIC 025LP
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Mind blowing recording by the amazing 13th Floor Elevators at their peak, live at San Francisco's Avalon Ballroom, in 1966. With a good, raw and powerful sound, a kick ass set composed of Elevators classics and some great covers ("You Really Got Me", "Before You Accuse", "Roll Over Beethoven"), and a band absolutely on fire, one can safely say this is the best live recording by the 13th Floor Elevators. A perfect testament to the greatness of Roky Erickson and his Elevators, the best psychedelic band to ever walk this planet.
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TSC 011R-LP
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LP version. Red vinyl version. "Ghost Dog - Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan."
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TSC 011W-LP
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LP version. White vinyl version. "Ghost Dog - Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan."
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2LP/BOOK
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OP 055-2LP
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Sold out, limited repress available in January 2021. Limited "Sound Edition" double-LP, includes 92-page book and O card. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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LP/7"
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WRWTFWW 047LTD
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LP/7" version. 180 gram pink vinyl; heavy gatefold sleeve with full movie gallery, obi strip, video store stickers, bonus 7" vinyl. WRWTFWW Records announce the first ever release of Richard Band's full uncut soundtrack for cult horror comedy classic Ghoulies (1985). One of the most sought-after soundtracks from horror/sci-fi/fantasy film scoring master Richard Band, Ghoulies is finally getting the full official release it deserves. Packed with 16 tracks, plus two bonuses by Fela Johnson (including the fan-favorite "Dancing with a Monster", a true disco-monster!), it beautifully flows, covering all aspects of '80s B-movie horror music, from eerie vibes to palpable tension, full on satanic darkness, epic momentums, and just the right amount of wackiness. Band has a true talent for subtle tones and precise moods, fully capable of taking you on an uninterrupted magical ride/listening experience -- one that feels like a trip to a 1985 video store and a whole world of mysterious treasures to discover! This is released in conjunction with the soundtracks of Empire Pictures' TerrorVision (WRWTFWW 046LTD) and Troll (WRWTFWW 045CD/LTD), also out on WRWTFWW Records. Established by producer and director Charles Band in 1986, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll, and TerrorVision are three of Empire's finest works, and each movie feature an unforgettable score by Charles's award-winning composer brother, Richard Band. Contains liner notes by Richard Band himself.
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2LP
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DLS 010B-LP
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Double LP version. 180 gram, black vinyl. This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish", the first single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group's tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months "with respect to the sacred healing truth of nature." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release By The Fire in 2020, and with Daydream Library, has released this quote: By The Fire is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace -- songs in the heat of the moment.
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2LP
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OP 048LP
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2020 repress. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
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2LP
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IMPREC 473LP
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2021 repress; #8 on Pitchfork's "50 Best Ambient Albums of All Time" list. To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album, The Ready Made Boomerang. Recorded in a cistern, this double-LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones -- as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.
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2LP
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WWSLP 040LP
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Double LP version. Tokyo Dreaming is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. Wewantsounds have teamed up with journalist and Japanese music expert Nick Luscombe. The selection mixes electro, synth-pop, funk, and ambient and includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late '70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro, and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time. Tokyo Dreaming starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut Thousand Knives Of... (WWSCD 024CD/WWSLP 024LP, 2019). The track became a staple of Sakamoto and Yellow Magic Orchestra's live shows and was even re-recorded by the group for their 1980 album X Multiplies. The track is followed by Mariah's cult Armenian folk flavored synth pop classic "Shinzo No Tobira" (1983). Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of city pop. Tokyo Dreaming superbly showcases the breadth of '80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-infused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' techno pop song "Jenie Gets Angry". The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album Kareinaru Electone (The Word) Vol.2 (1975). Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future. Album designed by famed London-based designer Optigram. Also features Yumi Seino, Kyoko Furuya, Kazue Itoh, Haruo Chikada & Vibra-Tones, and Colored Music.
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LP
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AKENAT 003LP
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During the '60s and early '70s, Singapore had one of most vibrant and interesting music scenes in Asia and even the world, and this compilation presents undeniable proof of it. Focusing exclusively on the female presence on the scene (be it as solo singers, backed by other bands or as band leaders), Singapore Nuggets. The Ladies presents such and amazing collection of songs many will be shocked by the sheer genius of this ladies. Ranging from naive pop to fuzzed-out garage (and more!) all within the confines of Pop Yeh-Yeh, the fresh, colorful, local sound of '60s Singapore, in which western influences and Chinese, Arabic, and Indian sounds were mixed by locals to create a wonderfully idiosyncratic style. A must! Features Chew Yan And The Stylers, Lim Ling & Silvertones, Grace Lee And The Stylers, Violet Tang & Saints, Rita Chao & Quests, Sakura, Naomi & The Boys, Linda Yong And The Silvertones, Patrina with Maurice Patton & Melodians, Liu Hui Yun, Evey Lyn & The Siglap Five, Teresa Khoo & Her Five Notes, Doris Ang & The Sandboys, and Shang Guan Su Shen.
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LP
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V 25AH426
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Restocked. Victory present a reissue of Pacific, originally released in 1978. Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of the South Pacific islands, the kind of places Japanese people spend their vacations. Pacific is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of so called "vaporware" music. LP includes insert.
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2LP
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IDEAL 192LP
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2021 limited repress. Double LP version. Kali Malone presents a new album featuring nearly two hours of concentrated pipe organ pieces governed by a strict acoustic and compositional code. It's a major new work with ultimately profound emotional resonance. The Sacrificial Code takes a more surgical approach to the methods first explored on Organ Dirges 2016-2017 (ASCETICKALI). Over the course of three parts performed on three different organs, Malone's minimalist procedure captures a jarring precision of closeness, both on the level of the materiality of the sounds and on the level of composition. The recordings of The Sacrificial Code involve careful close-miking of the pipe organ in such a way as to eliminate environmental identifiers as far as possible -- essentially removing the large hall reverb so inextricably linked to the instrument. The pieces are then further compositionally stripped of gestural adornments and spontaneous expressive impulse -- an approach reminiscent of Steve Reich's words, "by voluntarily giving up the freedom to do whatever momentarily comes to mind, we are, as a result, free of all that momentarily comes to mind." With its slow, purified, and seemingly austere qualities, The Sacrificial Code guides you through an almost trance-inducing process where you become vulnerable receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it's a uniquely satisfying exercise in transcendence through self-restraint -- a stunning realization of ideas borne out of academic and conceptual rigor which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self-exploration free of signposts and without a preordained endpoint -- the antithesis to the language of colorless musical platitudes we've become so accustomed to. Features additional organ pieces performed by Ellen Arkbro. Art and photography by A.M. Rehm. Mastered and cut by Rashad Becker.
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12"
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BB 357EP
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2020 repress. Auf Dem Schwarzen Kanal is one of the most outstanding, most sought-after releases in Conrad Schnitzler's extensive catalog. It was the only Schnitzler record to appear on a major label and saw him flirting with the experimental new wave sound that was emerging in 1980, particularly on the title track. Nevertheless, it still managed to sound idiosyncratically unlike any other music around at the time. Recorded with Wolfgang Seidel at Peter Baumann's Paragon Studio in Berlin, the four tracks take us on a caustic, dissonant mutant disco trip which has lost none of its fascination in the years since. It gives us at Bureau B great pleasure to reissue this long lost work.
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2LP
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EMEGO 289LP
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2021 repress. KMRU is the moniker of Joseph Kamaru, a sound artist and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond, he was listed by Resident Advisor as one of "15 East African Artists You Need To Hear" in 2018 and is a regular performer at the fabled Nyege Nyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. An exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound, revered for its ability to cross borders with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient music both captivating through its textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: "Why Are You Here", "Well", "Solace", "Klang", "Insubstantial", and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens. All tracks written and produced by KMRU. Recorded and produced in Rimpa, (Nairobi, KE). Mastered by Stephan Mathieu at Schwebung Mastering, June 2020. Photography: Claudia Mock; Layout/Design: Nik Void.
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LP
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ROG 100LP
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LP version. "Joshua Abrams' Cloud Script - Cloud Script - Joshua Abrams (double bass), Ari Brown (tenor saxophone), Jeff Parker (guitar), Gerald Cleaver (drums)."
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LP
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SOW 001LP
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Sowing Records present a reissue of We Insist! Max Roach's Freedom Now Suite, originally released in 1960 on Candid Records. One of the major statements in the history of Jazz and African American liberation movements. Max Roach's Freedom Now Suite consists of five original compositions and performances staging and celebrating different moments and aspects of the African American history and culture. Here is a wonderful cast of musicians reunited around Max Roach (drums) and Abbey Lincoln (vocals). Throughout the album you can find great contributions from the likes of Booker Little (trumpet), Julian Priester (trombone), Walter Benton (tenor saxophones), James Schenk (bass), and three percussionists Michael Olatunji, Raymond Mantilla, and Tomas du Vall. Highlights include the highly intense triptych for drum and voice by Roach and Lincoln and a special appearance of tenor sax giant Coleman Hawkins on the opening "Driva' Man". Clear vinyl; edition of 300.
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LP
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PFM 107LP
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Pleasure For Music present a reissue of Gail Laughton's Harps of the Ancient Temples, originally released in 1969. Gail Laughton, born Denzil Gail Laughton (1921-1985), was an American jazz harpist. He worked in Hollywood, playing on many film and cartoon soundtracks. Originally released in 1969 on the small imprint Rapture the record has been produced by famous sound engineer Paul Beaver (Beaver & Krause, Lalo Schifrin & Orchestra) the man who introduced the Moog to Stevie Wonder and Frank Zappa. Standing on the verge of both modern classical and space age, the record featured the track "Pompeii 76 A.D." as heard on the movie Blade Runner (1982). Gail Laughton can easily be considered a forerunner of new age, as documented on the highly influential compilation I Am The Center: Private Issue New Age Music In America, 1950-1990 assembled by project manager Patrick McCarthy for Seattle based Light In The Attic. "The shimmering, ethereal quality of the harp sings out under [his] loving care."
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2LP
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HJR 111LP
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2020 restock; Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Shūji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
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LP
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NAKED 019LP
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This is the epic Town Hall concert held by Nina Simone (with Jimmy Bond on bass and Albert "Tootie" Heath on drums) in New York on September 15th 1959 and originally released as her second album for Colpix Records. The repertoire included both traditional material and original songs written by Nina herself, plus some beautiful renditions of standards such as Gershwin's "Summertime" and Billie Holiday's "Fine and Mellow". Even though some of the songs featured in the concert were subsequently re-recorded in a studio for the album release.
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MR 256LP
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2020 repress; 2003 release. Jeffrey Lee Pierce -- reggae enthusiast, heroin addict, and former president of the Blondie fan club -- suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record his band, The Gun Club, recorded 16 years earlier: the masterful Fire Of Love. A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene. Inspired by bands like X, Television and the Cramps, he met Kid Congo Powers (who later played with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP -- released in 1981 on Slash's Ruby Records. What makes Fire Of Love such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive -- in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs' GI). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time. From the immensely dark and aggressive sexuality of "Sex Beat," Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in "For The Love Of Ivy," including the hellfire classic "She's Like Heroin To Me," a 2:33 masterpiece in which everything comes together; Fire Of Love is pure perfection. It stands among the greatest classics of rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of the most influential records of the '80s, with countless musicians declaring their love for the Club.
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LP
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CCS 055-2LP
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2019 repress. LP version. Second edition with amended tracklisting (the track "I Got A Woman" has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on "être," but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with "Too Many Kids Finding Rain In The Dust," Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on "Keep Me There," Jaar's voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on "être." So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast -- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
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ROKU 024LP
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Pat Thomas is one of the most extraordinary pianists of our time. In a first-time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert's poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts' ecstatic vocalizations. The trio of improvised pieces which make up the record's first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and color for Robert's song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings. The second side, a whole part in itself, goes deeper -- hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity. Personnel: Pat Thomas - piano; Matana Roberts - alto saxophone. Housed in a screen printed kraftboard sleeve. Photographs by Dawid Laskowski and Fabio Luguro; Design and layout by Maja Larrson. Recorded by James Dunn live at Cafe OTO on December 8th, 2018. Mixed by James Dunn. Mastered by Giuessepe Ielesi. 180 gram vinyl.
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LP
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VL 900082LP
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Transa is the fourth album by Brazilian musician Caetano Veloso, released on 1972 by PolyGram. Like its predecessor, it was recorded while the artist was exiled in London, though he returned to Brazil shortly after completing it. Evocative, eclectic, intimate, and rhythmically complex, Transa contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The record was cut in 1972, shortly after Veloso's return from political exile in England. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia," (ending with the wise line "That's What Rock 'n Roll Is All About") close out the set. Transa is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop -- or brilliant, original pop in general. 180 gram vinyl.
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2LP
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WRWTFWW 055LP
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WRWTFWW Records announce the full official reissue of Somei Satoh's magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece. Sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/DJ, Masaaki Hara. Deep deep deep into the abyss... The Mandala Trilogy blends Somei Satoh's own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/Sumeru, released on Kojima Recordings' ALM. "Mantra" was an NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington's Lilburn Studios for electronic music and recording in 1990. Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinozaki and recorded at the Kioi Hall in Tokyo on November 11th, 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp's most beautiful tone, I attempted to bring out a mystical sound." Although it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy. Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh's Emerald Tablet / Echoes LP (WRWTFWW 044LP).
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LP
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WRJ 008LTD-LP
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LP version. 180 gram vinyl; Half speed mastered; Heavy sleeve and obi. We Release Jazz announce the official reissue of Ryo Fukui's final album, the very personal contemporary jazz offering, A Letter from Slowboat, sourced from the original masters. Known for his miraculous albums 1976's Scenery (WRJ 001CD/LP) and 1977's Mellow Dream (WRJ 002CD/LP), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz. A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui's jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity, and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day. Reissued in conjunction with 1999's Ryo Fukui in New York (WRJ 009CD/LTD-LP), also available via We Release Jazz.
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4CD BOX/BOOK
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DTD 051CD
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Restocked; The Harry Smith B-Sides box set contains the flip side of every 78-rpm record that Harry Smith included on the Anthology of American Folk Music. In 1952, Folkways Records published the legendary six-LP series entitled the Anthology of American Folk Music, compiled by eccentric record collector, filmmaker, artist, and anthropologist Harry Smith. Many historians cite Smith's reissue, with its recordings of country, blues, and gospel music from the 1920s and '30s, and its booklet containing idiosyncratic liner notes, esoteric artwork, and handmade design as a major impetus for the folk music revival of the 1950s and '60s. 68 years later, The Harry Smith B-Sides offers both a resonant listening experience and the closing of a collector's circle. Sequenced in the identical order that Smith created, this new box set offers the flip-side of each record selected by Smith for the original Anthology of American Folk Music. Newly-remastered audio under license from Gennett Records, Paramount Records, Sony Music Entertainment, and Universal Music Group. This box set represents a mirror image of the Anthology of American Folk Music's tracklist. However, the producers have omitted the following tracks due to lyrics containing racist language: track 5 on disc 1, track 4 on disc 2, and track 16 on disc 4. Cigar box, full-color 144-page book featuring original artwork by Harry Smith and four CDs; 84 newly-remastered tracks on four CDs with a full-color 144-page book featuring archival images, original artwork by Harry Smith, and essays by John Cohen, Lance Ledbetter, and Eli Smith. Transcriptions and annotations for each track by more than 80 artists, writers, and musicians that have been inspired by Harry Smith's work including Daniel Bachman, Devendra Banhart, Sarah Bryan, Rosanne Cash, Dom Flemons, Steve Gunn, Will Oldham, Amanda Petrusich, Steve Roden, Art Rosenbaum, Nathan Salsburg, and Peter Stampfel.
Features Dick Justice, Nelstone's Hawaiians, Clarence Ashley, Coley Jones, Buell Kazee, Chubby Parker & His Old-Time Banjo, Uncle Eck Dunford, Burnett and Rutherford, Buster Carter and Preston Young, Carolina Tar Heels, G.B. Grayson, Kelly Harrell, Edward L. Crain, Carter Family, Williamson Brothers & Curry, Frank Hutchison, Charlie Poole with the North Carolina Ramblers, Mississippi John Hurt, William & Versey Smith, Furry Lewis, The Masked Marvel, Uncle Bunt Stephens, J.W. Day, Prince Albert Hunt's Texas Ramblers, Delma Lachney and Blind Uncle Gaspard, Andrew & Jim Baxter, A.C Eck Robertson and Family, Hoyt Ming and His Pep-Steppers, Henry Thomas, Jim Jackson, Columbus Fruge, Joseph Falcon, Breaux Freres, Cincinnati Jug Band, Frank Cloutier and the Victoria Cafe Orchestra, Rev. J. M. Gates, Alabama Sacred Harp Singers, Middle Georgia Singing Convention No. 1, Sister Mary Nelson, Memphis Sanctified Singers, Elders McIntorsh and Edwards, Rev. Moses Mason, Bascom Lamar Lunsford, Blind Willie Johnson, Ernest Phipps & His Holiness Singers, Rev. F.W. McGee, Rev. D.C. Rice and His Sanctified Congregation, Cannon's Jug Stompers, E. Segura & D. Herbert, Richard "Rabbit" Brown, Dock Boggs, Mr. & Mrs. Ernest V. Stoneman, Stoneman Family, Memphis Jug Band, Joseph Falcon & Cleoma Breaux, Blind Lemon Jefferson, Sleepy John Estes and Yank Rachell, Ramblin' Thomas, Julius Daniels, Uncle Dave Macon, J.P. Nestor, and Ken Manyard.
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LP
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FOX 026LP
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2020 restock. The musician and spiritual seeker Alice Coltrane was much more than just John Coltrane's second wife. One of the few harpists to feature prominently in jazz, she was also a renowned pianist and composer and her interest in spiritual matters greatly helped steer her husband deeper into Krishna consciousness, which had significant bearing on his music, most notably evident on A Love Supreme (1965). This mesmerizing performance, held at Carnegie Hall four years after John's untimely passing as part of a benefit event for Swami Satchidananda's Integral Yoga Institute, comprised a stunning and largely improvised rendition of Coltrane's "Africa," with Alice's subtle piano and harp expressions excellently framed by the wailing saxes of Pharaoh Sanders and Archie Shepp, Cecil McBee and Jimmy Garrison trading non-standard bass lines, a dual drum onslaught from Clifford Jarvis and Ed Blackwell, along with members of the Institute on harmonium and tamboura.
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LP
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CMT 1024C-LP
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Limited repress; LP version. Clear vinyl. Cometa Edizioni present a reissue of Gruppo Di Improvvisazione Nuova Consonanza's Eroina, originally released in 2011. There are still so many treasures to be discovered out there, but once you find a gem like this you can definitely put the research on hold for a little while and give it a deep listen. Recorded at Fono Roma in 1971, Eroina is a series of haunting improvisations -- each one inspired by the effects of a different drug -- made of whirling electronic glitches, skronky horns, pounded piano, funky drums. and weird tape experiments delivering the best drone/spaced/drugged-out free jazz performed by the legendary ensemble of Ennio Morricone, Mario Bertoncini, Egisto Macchi, Battisti D'Amario, Franco Evangelisti, and Walter Bianchi. A timeless masterpiece.
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LP
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AZLP 2001LP
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Aozura present a reissue of Far East Family Band's Nipponjin - Join Our Mental Phase Sound, originally released in 1975. Regarded by many as the first Japanese progressive rock group, the Far East Family Band featured the keyboardist and future new age composer, Kitaro. A keyboard-dominated space rock band, the Far East Family Band played extended compositions that brought comparisons to Tangerine Dream and early Pink Floyd. Nipponjin, the band's second album under their new name (the trio changed their name from Far Out to Far East Family Band following the release of Nihonjin which appeared on the Denon label in 1973) following, featured re-recorded material from the previous, The Cave Down To Earth as well as Nihonjin and was produced by Tangerine Dream's Klaus Schulze. The band's synthesizer-drenched sound had much to do with the meeting of keyboard player and soon to be new age composer Kitaro's meeting with Schultz during a trip to Europe. One of Japan's earliest prog bands, Far East Family became hugely popular in Japan and also achieved considerable attention in Europe too. The group went on to release two further albums, Parallel World (1976) and Tenkeyin (1977) but it is Kitaro who enjoyed lasting fame for his legendary Silk Road albums. No.14 on Julian Cope's list of top Japanese albums. Digitally remastered. Highly collectable. 180 gram vinyl; orange color vinyl; hand-numbered sleeve.
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LP
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WRJ 009LTD-LP
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LP version. 180 gram vinyl; Half speed mastered; Heavy sleev and obi. We Release Jazz announce the official reissue of Ryo Fukui's New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters. Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui's idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable sessions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums. Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui's very own Mellow Dream (WRJ 002CD/LP). It's expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it's got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way. Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day. Reissued in conjunction with 2016's A Letter from Slowboat (WRJ 008CD/LTD-LP), also available via We Release Jazz.
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2LP
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SR 502LP
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Double LP version. White vinyl. The Fall is a deconstruction of November by Dennis Johnson. Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66-minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduce Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echoes November, but with further resonance. Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.
Lustmord, active since 1980, was born of the original "industrial" scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television, and commercials. Recently, Lustmord scored the music for Paul Schrader's movie First Reformed (VAULTWORK 331CD/LP, 2019). While Lustmord is often credited for creating the "dark ambient" genre there is much more nuance to its work than what that label implies. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park, and Robert Rich.
Nicolas Horvath, an unusual artist with an unconventional résumé, pianist, and electroacoustic composer is known for his boundary-less musical explorations. Horvath is both an enthusiastic promoter of contemporary music -- he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran, and Valentyn Silvestrov -- and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.
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LP
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NP 032LP
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A selection of eight songs covering the period from 1979 to 1989 by one of Rai's softest voices. Wah-Wah driven, mid-tempo guitar based early Rai from the city where Rai's "harder" form was conceived. Sad romantic songs about lost loves and other sorrowful tales. Mastered by Mark Gergis. Vinyl master and lacquer cut by Frederic Alstadt - Angstrom Studio. Edition of 300.
"... In the mid-1970s, the music scene in the Oran region was dominated by groups such as Les Aigles Noirs, Choc, or The Basils -- playing mainly Western pop covers, ranging from the Beatles to French romantic songs. Then, there were also the emerging new Rai sounds, championed by Messaoud Bellemou and his troupe -- with a sound driven by trumpets and saxophones. I was 17 in 1978, when I joined Les Aigles Noirs as a 'stage animator' . . . This is how I met Ahmed Zergui. Zergui and his group, Les Freres Zergui were pioneers. They were the first to introduce wah-wah pedals and drums in Rai . . . It combined Rai, rock and jazz elements into something unheard before. It was about 1979 when Ahmed Zergui offered me to join his group as an animator . . . In 1979, I released my first cassette Jayya Arassa / Jaya Techoufi Babak on Editions Mekkeraphone with Zergui on guitar. Cheb Khaled was the rising star of Rai after releasing 'Ya Sada' and he covered my song 'Jat Jat', which helped attract a lot of attention, and resulted in many show requests around Oran . . . Ahmed Zergui passed away in 1983 . . . The group separated and we did not know what to do . . . In 1984, I began reaching out to former members of the group, such as Omar Assou, Kassem Atek, Nasser, and Houari Toubi. In Oran, I linked with the label La Nouvelle Etoile, who invited me to start recording again. We signed a three-year contract and we released nine cassettes together; the first of which featured 'Jibek Liyam' and 'Malgre Ma Dert Fiya'. Rai was progressing fast, and had started to integrate modern instruments such as Roland synthesizers, drum machines, etc... We started recording at Studio Malik in Oran, and this is where we met the true legend that was Meghni Mohamed . . . By the late 1980s, we had worked with most of the established Rai labels such as Editions Anwar, Editions Maghreb, or Editions Saint Crepain. In 1994, Kassem Atek and I considered applying quarter tones and Hijaz Maqam to the electric guitar. I was very familiar with them on vocals, but applying them to guitar was a first in North Africa. This new sound had a relatively large success, which resulted in numerous releases...." --Drissi El-Abbassi (Sidi Bel Abbes, Algeria September 2020)
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LP
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PHS 067LP
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Pharaway Sounds presents a compilation dedicated to Erkin Koray, the father of Anatolian rock/Turkish psych. Halimem includes rare single and cassette-only tracks (mostly from 1970-72, plus three killer ones from 1987). Expect a fabulous mix of Turkish melodies/grooves with hard-rock and psych. Artwork by Sara Gossett.
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LP
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EG 001LP
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LP version. An unearthed treasure from the '70s Italian avant garde archives! A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a one-off Italian-American all-star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva. Trombone specialist Giancarlo Schiaffini from the historical Gruppo di improvvisazione Nuova Consonanza. Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi. Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document! Additional booklet contains extensive liner notes and photos.
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2LP
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RRS 079C-LP
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Influential independent label, Posh Boy, helped the southern California punk scene to gain traction in the late '70s and early '80s through a series of releases by then-unknown bands. The legendary 1979 compilation Beach Blvd referenced Route 39, a highway that connected the label's various artists, located in suburbs from Huntingdon Beach up to the San Gabriel Valley. Rosemead's Simpletones were one of the first melodic punk acts; Huntingdon Beach's The Crowd drew from surf rock and hardcore in equal measure, while the material credited to Rik L Rik are actually remixes of demos he cut with Negative Trend, now with bass overdubs by Simpletones guitarist Jay Lansford, who also cut lead guitar on "Atomic Lawn". This ultra-expanded, double vinyl reissue features 17 bonus tracks of Simpletones and The Crowd material, as well as live material from Rik L Rik's first group, the legendary F-Word!, and the two only known tracks recorded by The Klan, the short-lived quartet fronted by Simpletones vocalist, Richard "Snickers" Scott. Includes updated liner notes. Yellow and turquoise vinyl; gatefold sleeve; edition of 700.
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3LP
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OP 053LP
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Against All Logic's 2017-2019 on Other People featuring Lydia Lunch. Side F is a vinyl-only edit.
"Under his Against All Logic alias, Nicolas Jaar writes music that sounds like it's trying to break out of itself. Textures undulate and basses overwhelm, while vocals flutter in and out of focus as if someone were flicking through channels on a decrepit television. The project's first LP, quietly released on his Other People label at the beginning of 2018, folded half a decade's work into one of the most accessible albums of his career. Now that A.A.L. is a known quantity, Jaar returns with 2017-2019, trading the warmer house music of his debut for a warped techno counterpart . . . 2017-2019 has been rendered more purposefully than its predecessor, each track flowing into the next. It presents an identity for Against All Logic that transcends the previous mid-tempo crowd-pleasers, one that's unafraid to draw from various club subgenres while injecting Jaar's customary washed-out tape atmospheres. The harsh spirals of noise and pneumatic hi-hats of 'Deeeeeeefers' sound like they're pulled from a revised Justice cut or Thomas Bangalter edit, while 'Penny' makes the case that 'lo-fi house' might not be dead after all. The most exhilarating moment on the album appears courtesy of its sole feature, Lydia Lunch, whose voice and philosophy Jaar borrows for 'If You Can't Do It Good, Do It Hard.' A longtime advocate of her work?he reissued her 1990 spoken-word piece Conspiracy of Women (C.O.W.) after layering clips from the recording into his live show for years-- Jaar recontextualizes the no-wave icon's uncompromising ferocity using brash distortion loops that make Yeezus sound tame by comparison." Noah Yoo at Pitchfork (7.9/10)
"Techno influences echo through later on in the project, but to a different extent. The track 'Penny' mixes the tuneful sounds of lo-fi house with a heavy thumping beat that appears halfway through. The closer 'You (Forever)' brings a serene, meditative ending, the album's only real moment of calm, which seems to hark back to 2011's debut Space Is Only Noise (CCS 055-2LP). Jaar shows signs of evolving here, and it's more than welcome. For a record that feels chaotic at times, everything falls into place." -- Joe Hale at Clash Music (8/10)
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LP
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WRJ 001LP
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2020 repress; New "regular edition" on 140 gram vinyl. We Release Jazz (WRWTFWW Records' new sister-label) presents its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LP/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters. LP version is mastered at half speed; 140 gram vinyl with sticker.
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2LP
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AUK 008LP
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2021 repress. Released on 180 gram black vinyl. Deluxe gatefold with printed inner sleeves. 2007 release -- originally released in 1995. Redolent with the spirit of such high priests of effects and delay as Loop, Spaceman 3, and My Bloody Valentine, not to mention a fair dollop of the Jesus And Mary Chain, Methodrone clearly is the sum of its influences. Thankfully, BJM does a very solid job with them throughout the album's course of over 70 minutes.
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LP
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FW 1036LP
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$25.50
PREORDER
RELEASE DATE: 2/5/2021
Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself. Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound. Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20-minute, ultra-slow version at 3.25 IPS. Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.
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2LP
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NSD 102LP
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2020 repress. "MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, volumes three and four of the acclaimed series are available on vinyl for the first time in years. With obscure loops and dusty samples galore, Special Herbs Volumes 3 & 4 is a must-have for any DOOM fan or hip-hop head."
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2LP
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ZEHRA 002LP
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2020 restock. Zehra present a reissue of Apocalypse Across The Sky by The Master Musicians of Jajouka featuring Bachir Attar, originally released in 1992. Available on vinyl for the very first time. Produced by Bill Laswell, remastered for vinyl by Helmut Erler at Dubplates & Mastering, Berlin. No matter if you consider the Master Musicians of Jajouka a "4,000 year-old rock n' roll band" (William S. Burroughs) or even "6,000 years old" (Ornette Coleman) -- without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism, and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today's ensemble leader Bachir Attar, and till today every year at the end of Ramadan a fire in honor of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute), and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties. In the 1950s, Brion Gysin along with Paul Bowles were among the first westerners to witness such a ceremony, and it was Gysin who invited the Master Musicians of Jajouka to play in his restaurant in Tangier, and who later (in 1967) brought Brian Jones to the small village of Jajouka where the Rolling Stones guitarist recorded the ensemble for what became the first "world music album" and that raised interest in the Master Musicians of Jajouka in the western world. Since those days, a wide number of creative minds like William S. Burroughs, Ornette Coleman, Marc Ribot, Flea, Talvin Singh, or the Rolling Stones have worked with the Master Musicians of Jajouka who are now performing regularly outside Morocco. In 1991, iconic producer Bill Laswell also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his Axiom label -- Apocalypse Across The Sky is, unlike other Laswell projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks among the essential recordings according to the world music magazine Songlines. 180 gram vinyl; gatefold sleeve; includes download code.
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LP
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LAPSUS 025LP
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Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani's accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games, and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona's Centre for Contemporary Culture. Its final event was entitled "A Sonic Womb" and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as "an improvisation that I began using in the '70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records present A Sonic Womb: Live Buchla Performance at Lapsus, a unique live recording of this extra special concert.
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LP/7"
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LOVE 118LP
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LP version. Includes 7". When you make a record that doesn't conform, expect to divide opinion. Like Weather was released in 1998, on Rephlex -- run by Grant Wilson Claridge and Richard D James -- an often great label that had a following largely made up of Aphex-logo wearing fanboys who couldn't quite deal with electronic music made by a girl -- let alone one that used vocals. Everything those lads couldn't fathom about Like Weather is essentially what makes it untouchable; one of the greatest, most effortlessly esoteric pop albums ever made, not in the lineage of IDM or trip-hop, genres it has so often been awkwardly lumped in with, but something else that can't quite be categorized -- even 22 years later. Like Weather echoes the world-building energy of Prince's Sign "O" The Times (1987) -- every track is a self-contained universe all its own, there are no rules or conventions -- it's full of hooks, but also insular as fuck, the production is all over the place and it still sounds like nothing else (although if you're into the Mica Levi-produced Tirzah album (2018), know that this here is the aesthetic, spiritual blueprint). It feels analog, then digital -- it's R&B, but also baroque music box, drone pop, experimental, electronic, junglist -- attempting to define it is like trying to cup mercury in the palm of your hands; it'll just find something else to slide into. Newly remastered by Rashad Becker; cut by Lupo.
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LP
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TDP 54045LP
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Trading Places present a reissue of Heron's self-titled album, originally released in 1970. Short-lived British folk-rock band Heron was formed in the suburban town of Maidenhead, Berkshire, in 1967, when guitarist/pianist Roy Apps and singer Tony Pook began playing with guitarist Robert Collins, inspired by the music of Bob Dylan and The Incredible String Band. Collins soon quit the group, yet Heron solidified into a noteworthy entity upon the entry of the broadminded and perceptive guitarist and mandolin player Gerald T. Moore, a veteran of R&B bands in nearby Reading, who brought a higher level a musical dexterity, song-writing ability and arrangements; guitarist Martin Hayward was another early member that did not remain with the group for long. Once accordionist/keyboardist Steve Jones was in the fold, things leapt forward through Apps' role as Student Entertainments Secretary at the Reading College of Technology, which allowed the group to open for Ralph McTell and other established performers. Signed as songwriters to Essex Music, they were spotted by Donovan's producer, Peter Eden, who signed them to Dawn Records, an alternative subsidiary of industry giant, Pye. Their self-titled debut album, produced by Eden, was recorded in the open air at a Pook's family farm in rural Appleton-On-Thames. For the rare 12-inch single "Bye And Bye," the title track was a wistful wish for the romance of travel, written by Moore, followed by his heart-broken "Through And Through"; Moore's unusual reading of Bob Dylan's "Only A Hobo" sparked considerable media interest and Pook's "I'm Ready To Leave" was a contemplative closer, again tinged with melancholy. "Bye And Bye" received considerable airplay, but a vinyl delivery strike ultimately curtailed demand. As expanded Heron went on to record sophomore set Twice As Nice & Half The Price (1971), before Moore quit the group to back his Persian girlfriend, Shusha; he subsequently founded the world's first white reggae act, GT Moore and the Reggae Guitars. Licensed by BMG.
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LP
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NP 035LP
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Seven intense Egyptian shaabi remixes by Cairo's finest. Features ABADIR, 1127, 3Phaz, ZULI, KZLK, Nadah El-Shazly, and Youssef Abouzeid. Master and lacquer cut by Frederic Alstadt - Angstrom Studio. Back cover photo by Hendrik Hegray. Edition of 300.
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LP
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SMR 004LP
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2020 restock. "Laylat Hob" -- Another meeting in the clouds. Mohamed Abdel Wahab wrote another big score for Om Kalsoum in 1972. In "Laylat Hob" (A Night of Love), you hear Arabic music and poetry in perfect symbiosis. The rich and lengthy instrumental intro is just a precursor of the emotion present in this song. The talent of the composer is underlined by how he utilizes the traditional style of singing poetry in a more open and creative way. Abdel Wahab's infusing of long and groovy interludes with varied tonality, rhythmical patterns, and an overall unique approach, carries Om Kalsoum's powerful voice and brings the song to an incredible climax. In this way, he gives more color and depth to the music and the skilled soloists in the orchestra are finally able to breathe. Sensual rhythms, breaks, and breathtaking solos of accordion, guitar (Omar Khorshid), violin, and organ (Hany Mehanna), have ensured this song is an all-time classic for belly dance routines. Souma Records thought it was time to re-release this monument on a high-quality vinyl format, together with a repress of "Enta Omri" (SMR 003LP), another classic song by Souma. Vintage inside out-sleeve; printed inner sleeve with liner notes.
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2LP
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NSD 106LP
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2020 repress. "MF DOOM is the man in the iron mask. The most mysterious figure in hip-hop has also become one of the most popular, supplying beats and rhymes for Gorillaz, De La Soul, Madlib, Danger Mouse, and Wu-Tang Clan, and drawing praise from heavyweights like Just Blaze, Nas, and Mos Def. Since 2002, DOOM has released numerous volumes of Special Herbs, one of the longest-running instrumental series in hip-hop history. Now, volumes five and six of the acclaimed series are available on CD for the first time in years. With obscure loops and dusty samples galore, Special Herbs Volumes 5 & 6 is a must-have for any DOOM fan or hip-hop head."
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LP
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MIR 100739LP
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2020 repress; LP version. Rids the World of the Curse of the Vampires (1981) not only ably displays Scientist's varied approach, but also clocks in as one of his best outings. Scientist keeps things lively with plenty of reverb and echo-treated percussion, ghostly piano parts, video game sound effects, and other wobbly interjections from the mixing board. The record's expert evocation of the Halloween spirit also includes some fiendishly-voiced intros, the cover art's cartoon potpourri of horror film characters, and the dubious claim made in the liner notes that Scientist mixed it all at midnight on Friday the 13th. Along with Keith Hudson's Pick a Dub (1974) and Lee Perry's Blackboard Jungle Dub (1973), this is one of the essential dub albums.
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LP
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HOLY 001LP
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Repressed; LP version. Holy Fuck have announced new album Deleter, previewed with the video for acclaimed latest single "Luxe" featuring Hot Chip's Alexis Taylor. Arriving at a moment where attention spans are shot and anxieties are going into overdrive, Deleter, Canadian band Holy Fuck's fifth studio album, is a defiantly full-bodied affair. Polyrhythmic and pleasure-focused, Deleter sees Brian Borcherdt, Graham Walsh, Matt Schulz, and Matt "Punchy" McQuaid utilizes their signature sound -- seamlessly fusing the gauzy drive of krautrock and deep house's dreamy ineffability, expertly blending purring motorik percussion with the sort of fuggy synthetic fizz and tang they are renowned for. From the thrusting minimalism of opener "Luxe" through to the triumphant chug of closing track "Ruby", via club-ready rollocker "Free Gloss" and the cosmic clatter of "San Sebastian", Deleter is a record that joins the Holy Fuck dots within their widescreen, technicolor, crescendo-heavy sound. Also features Angus Andrew and Nicholas Allbrook.
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