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forthcoming releases available for pre-order
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How preorders work: FAQ
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8VL 5214LP
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$27.50
PREORDER
RELEASE DATE: 1/24/2020
An LP comprised of two stunning works composed by Luc Ferrari during the early 1980s, "Dialogue Ordinaire Avec la Machine" and "Sexolidad", released by the long standing Italian experimental imprint, Elica. Wild and wonderful, this one is absolutely essential for any fan of electronic avant-garde. Needing little introduction, Luc Ferrari is one the great figures in 20th century avant-garde and experimental music. Ferrari was a pioneer, who, for roughly half a century, continuously revolutionized the field of electronic and electroacoustic creative process. Leaving such a sprawling body of work in his wake, much remained unreleased at the time of his death in 2005. Labels and fans have been scrambling to catch up over the years since. Part of their long-standing dedication to Ferrari, dating back to the 1990s, Elica's latest LP, Dialogue Ordinaire Avec la Machine / Sexolidad, takes great strides toward illuminating the composer's remarkable range of diverse approaches to sound. Composed between 1982 and 1984, the first piece showcases Ferrari's interest in tape collage work and sampling, whereas the second piece is one of his less than traditional compositions for a traditional ensemble. "Dialogue Ordinaire Avec la Machine" describes the not so chance meeting between the artists (Ferrari helped by Yannick Gornet) and the mysteriously working machine (a sampler), between the curiosity, amusement, surprise, ineptitude and excitement of the musicians and the machine with its appeal, complexity, stubbornness and synthetic eruptions. A rollercoaster through exploration, seduction, observations, misunderstandings, purrs, moans, gurgles, whooshes, loops and mechanical rhythms from which Ferrari builds his own synthesized folklore, ending with one of the most unusual episodes in the composer's production, the rather graphically explicit and apocalyptic "Love Song With the Machine" (which, to make an unlikely comparison with younger artists, one could imagine the music of the New York duo Suicide mixed by Nurse With Wound's Steven Stapleton). "Sexolidad" is one of Ferrari's most seductive instrumental pieces, representing a journey over the body, in which tonalities and their mix create "a particular harmonic climate [...]" The curious concept and its musical composition result in an extremely enjoyable piece which is continuously intriguing, evocative, dauntless, persuasive and highly satisfying, exquisitely performed here by the Ives Ensemble. Includes 30x30cm four-page booklet with bilingual (French-English) versions of the integrated text from "Sexolidad" and the lyrics to "Love Song with the Machine". Gatefold cover; edition of 300.
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BANG 138LP
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$26.50
PREORDER
RELEASE DATE: 1/24/2020
Bang! Records present a reissue of Lydia Lunch and Rowland S. Howard's Shotgun Wedding, originally released in 1991. Lydia Lunch: New York City's provocateur, poet, singer, author, performer, and actress. From fronting the influential no-wave group Teenage Jesus and The Jerks to her current musical incarnation as Big Sexy Noise, with Gallon Drunk's noise makers James Johnston, Terry Edwards, and Ian White; countless collaborations and projects in between Lydia has never played by anyone's rules but her own. This 1991 collaboration with the Australian iconic cult figure Rowland S. Howard is perhaps one of her most revered. Featuring production by JG Thirwell (Foetus, Manorexia) and drums by Jim Sclavunos (Bad Seeds, Grinderman) it's a veritable who is who of the post punk/no wave scene of the time. Rowland S. Howard is no doubt best known for his work with the Birthday Party, his discordant guitar is an essential factor in their sound. Howard sadly passed away from liver cancer in 2009. A hugely influential alternative musician, in 2011 he was subject to a 110-minute documentary entitled Autoluminescent, by cult filmmakers Richard Lowenstein and Lynne Maree Milburn, which received an independent cinema release. Featuring luminaries such as Nick Cave, Bobby Gillespie, Wim Wenders, and of course... Lydia Lunch, the film highlights Howard s genius, talent, and rightfully elevates him to the cult status he so deserves. With both parties at the height of their respective talents, this is an alternative rock gem, yet however maintains an atmosphere of eerie beauty throughout. Out of print for years, this re-press is a must have.
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BEAT 079LP
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$22.00
PREORDER
RELEASE DATE: 1/24/2020
Premature Burial is the solo project of JM Dopico, the mastermind behind grind legends Machetazo and also a member of the cult D-Beat squad, Dishammer. With such credentials is not too difficult to figure out you're in for a wild ride... fueled by Dopi's passion for the darkest heavy metal, doom rock, and punk from the glorious '80s, Antihuman is an ass-kicking, skull crushing statement of intentions from a man that's gained -- for many reasons -- a cult status among extreme music followers.
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12"
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BPX 004EP
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$12.00
PREORDER
RELEASE DATE: 1/24/2020
Etaci is the banging debut EP of Irish techno DJ and producer Sunil Sharpe on Bpitch Control. The first release on Ellen Allien's BPitch label in 2020 comes from Sunil Sharpe, an outstanding Irish DJ and producer known since the early '00s for his raw, individualistic techno. After records on Works The Long Night, Murder, and his own label On The Hoof, Etaci is the Irishman's first solo release in three years. The title track sets the tone with its powerful beats and memorable gnawing sequences: funky, extremely physical and with its "Just A Dream" vocal, which lays like a veil over a squeaky Acid screw, psychedelic to the right degree. "Timber" picks up on this theme and marches with whispering acid lines, voices from the haunted house and funky Chicago house reminisces in the direction of a break, in which a bewitched melody, bird chirping, and choirs push the whole thing in the direction of ritual dance cult music. Sunil Sharpe then modulates sinister sequences on "Amun", where synth stabs occasionally shoot light into the darkness -- for the special moments on the dancefloor, which are ecstatic and self-contained at the same time. "Ukkin" finally sends Morse codes from the '90s Chicago basements, extremely funky and compelling contemporary.
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CAEDMON 001CD
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$18.00
PREORDER
RELEASE DATE: 1/24/2020
Amazing second Caedmon album from 2010 never properly distributed, A Chicken To Hug. An intriguing, personal album; clearly Caedmon from the first note, but come of age. A 2010 album of twelve recently penned songs from Caedmon's original line up: Angela Webb (Naylor), Jim Bisset, Ken Patterson, Sam Wilson, and Simon Jaquet. The much-loved fragile female vocals, searing electric guitar licks, 'cello, mandolin, and bass remain from the '70s sound; now supplemented with accordion, drum kit, trombone, and whistle. 32 years on from their eponymous album Caedmon, the content of the songs is personal, poignant, and sometimes challenging, Acoustic acid folk, mixed, in well-judged doses, with jazz, soul, African and gospel groove.
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CAEDMON 002LP
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$29.00
PREORDER
RELEASE DATE: 1/24/2020
New Caedmon album featuring seven new songs and six previously unreleased tracks from the '70s. For their 40th anniversary, legendary psych-folk band Caedmon wrote seven new songs and found unreleased archive material from the '70s to make the album here, titled Rare. Side A consists of five new tracks. Highlights are the eight-minute prog-folk rock epic "Dream Of The Rood", the folk-funk of "Go" the folk-rock of "Runaway", and more. The bonus 7" includes "Rare" (a new song about record collecting and searching for a Holy Grail) and "Peace" (another new song with a beautiful guitar solo at the start). Side B includes six previously unreleased songs from 1975-1978. Featuring the studio version of "London Psalm" from 1975 (a live version was included on the Kissing Spell live CD), the Pentangle inspired "Born To Die", a folk-rock rendition of traditional hymn "God Is Love" and more. Full color matte sleeve; Includes insert with lyrics; Edition of 500.
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CDBACH 001CD
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$15.50
PREORDER
RELEASE DATE: 1/24/2020
Alchemy is the debut album from 22-year old singer-songwriter Tara Nome Doyle, following the singles "Heathens", "Neon Woods", and "Mercury". Doyle's 2018 EP Dandelion, featuring her breakthrough-hit "Down with You", has so far amassed nearly two million streams. Recently, two of her songs featured in Sophie Kluge's feature film Golden Twenties (2019). Doyle is a member of Kat Frankie's choir and is featured on Frankie's a capella EP. Alchemy deals, in two songs each, with the four phases of development of the pre-modern natural philosophy, the alchemy. The album can be read psychologically or as a portrait of someone coming of age. Experience and reflection are closely entwined which is as beautiful as it's threatening. Doyle, whose middle name is pronounced just like "Naomi", is from Berlin-Kreuzberg, her parents are from Ireland and Norway. She speaks (and sings) both languages without accent. Is it permissible to recognize the biographical background of these landscapes in her art? The stored heat and the fog from the Irish peat bogs, the magic of the Norwegian forests? The concept album was recorded in large parts with David Specht (bass player and producer of Isolation Berlin) and Doyle's newly founded band in Berlin. Specht remains reserved, keeping the band in check. It's the interiors that you should hear --acoustically, but also thematically. The drums sound more like a knock on the window pane than the city noise outside the door, the guitar controls the harmony and not the power supply. The first instrument remains Doyle's voice, which is always working and is looking for a way. Inward, outward. All songs were written by Doyle, for the arrangement for "Neon Woods" she worked with Max Rieger (Die Nerven, producer for e.g. Drangsal and Ilgen-Nur).
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CDCR 141CD
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$23.50
PREORDER
RELEASE DATE: 1/24/2020
In 2019, Francesco de Masi's music has been given important tributes, among which being chosen for Quentin Tarantino's movie, Once Upon A Time In Hollywood, making available once again a score which has been out of stock for some time, Il Segno Del Coyote. The movie was released in 1963 and directed by Mario Caiano, another artist very dear to Beat Records and the subject of a video included on the label's CD release of the wonderful score for Napoli Spara, created by Filippo de Masi and Daniele De Gemini, who filmed and interviewed the aging director at his mansion. The music by Maestro de Masi, already available on a double-bill with the score of C'e' Sartana, Vendi La Pistola E Comprati La Bara!, represents the first Italian score for a Western movie, still without the trademarks that would define the genre from the following year. Instead, the music composed by the maestro was a wink to the Hollywood productions of the day, written in his typical symphonic style. Now available integrally in Beat Records' classic CDCR series featuring a lot of unreleased music. Graphic layout by Daniele De Gemini. Mastering by Enrico De Gemini. Liner notes by Filippo de Masi and English edit by Josh Mitchell. Includes 12-page booklet.
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DOOK 150482CD
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$14.00
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RELEASE DATE: 1/24/2020
Jim Noir's A.M Jazz is a multi-layered album that features close friends including those dearly departed. 15 years since he recorded the first ever Jim Noir EP, A.M Jazz is the record all Noirheads won't be surprised Al Roberts had inside him. Letting the Beatlesesque stylings of his most recent album Finnish Line be (2014), A.M Jazz suits the Noir repertoire of his catalog so far and is another homegrown offering which sees the Davyhulme composer tinkering in his suburban Manchester studio once more. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analog house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith. Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard's film Eaten By Lions (2018). Performing all A.M Jazz's instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, "Hexagons" features Phil Anderson and Mark Williamson singing and playing "legendary OTT guitar solo" respectively. Meanwhile the orchestration of "Peppergone" waltzes like a beautifully romantic ode to Beethoven's Moonlight Sonata -- a tribute to dearly departed best friend Batfinks who originally wrote the chords in his song "Peppercorn". Culled from around 50 tunes, A.M Jazz moves like the time of the day, from dawn to night, stirring from the pop of "Good Mood" and the Beta Band groove of "Upside Down". Mellow "TOL Circle" is like Percy Faith's "Theme From A Summer Place" synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al's curiosity, and the album plunges into a vast chasm of instrumental exploration with "Mystermoods", visiting Japan's funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, "Eggshell" is like an undiscovered gem from Angelo Badalamenti's cutting room floor, the Panda Bear shimmer of "Lander" is where blissful positivity and sadness meet, about another of his friends who left the world too young.
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DOOK 30882LP
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$25.00
PREORDER
RELEASE DATE: 1/24/2020
LP version. Gatefold sleeve; edition of 200. Jim Noir's A.M Jazz is a multi-layered album that features close friends including those dearly departed. 15 years since he recorded the first ever Jim Noir EP, A.M Jazz is the record all Noirheads won't be surprised Al Roberts had inside him. Letting the Beatlesesque stylings of his most recent album Finnish Line be (2014), A.M Jazz suits the Noir repertoire of his catalog so far and is another homegrown offering which sees the Davyhulme composer tinkering in his suburban Manchester studio once more. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analog house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith. Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard's film Eaten By Lions (2018). Performing all A.M Jazz's instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, "Hexagons" features Phil Anderson and Mark Williamson singing and playing "legendary OTT guitar solo" respectively. Meanwhile the orchestration of "Peppergone" waltzes like a beautifully romantic ode to Beethoven's Moonlight Sonata -- a tribute to dearly departed best friend Batfinks who originally wrote the chords in his song "Peppercorn". Culled from around 50 tunes, A.M Jazz moves like the time of the day, from dawn to night, stirring from the pop of "Good Mood" and the Beta Band groove of "Upside Down". Mellow "TOL Circle" is like Percy Faith's "Theme From A Summer Place" synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al's curiosity, and the album plunges into a vast chasm of instrumental exploration with "Mystermoods", visiting Japan's funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, "Eggshell" is like an undiscovered gem from Angelo Badalamenti's cutting room floor, the Panda Bear shimmer of "Lander" is where blissful positivity and sadness meet, about another of his friends who left the world too young.
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2CD
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FD 121CD
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$15.50
PREORDER
RELEASE DATE: 1/24/2020
Double-CD version of the critically acclaimed The Great Unlearning album, originally released in mid-2019 as a double-LP by Egyptian label Nashazphone (NP 030LP). This release saw Gary and Anthony not only reunited with Stuart Dennison, Martyn Watts, and Philip Best, but also collaborating with Philip's wife (and Consumer Electronics partner) Sarah Froelich and delivering perhaps their most surprising and immediate work to date. Drawing from post-punk, ravaged psychedelia, raw electronics and, of course, the group's own background as purveyors of music both intense and uncompromising, The Great Unlearning is their most accomplished work yet. This is the culmination of where all their ideas have been heading over the years and undoubtedly proves Ramleh to be completely on top of their game. Packaged in a six-panel sleeve.
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GET 52737LP
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$27.00
PREORDER
RELEASE DATE: 1/24/2020
Housed in a deluxe gatefold jacket; OBI. "After years of Wrecking Crew-grade session musicianship around Los Angeles, Malcolm John Rebbenack carved his own niche by the late 1960s with a distinct blend of psychedelic rock, boogie-woogie, and rhythm & blues. Taking the stage name Dr. John, The Night Tripper (later shortened to Dr. John), he developed a cult following with his music, heavily influenced by his home of New Orleans, and fascination with the voodoo religion, which was reflected in his elaborate stage shows. In 1968 he released his debut record Gris-Gris, which was not a commercial hit, but fascinated critics, and set him on an artistic path that would eventually lead to major mainstream success in the 1970s, and cement his reputation as a prominent curator and performer of the New Orleans sound. After Gris-Gris' release, Dr. John found himself in a strange and awkward position. The US was deep into the Vietnam War, and the assassinations of Martin Luther King Jr. and Bobby Kennedy were fresh in the public memory. On top of that, Dr. John was being pursued by various Los Angeles authorities for a handful of criminal offenses. It was, in his own words: 'a heavy time for me.' Much like Sly & The Family Stone's There's A Riot Goin' On, Dr. John's sophomore album Babylon would be a reflection of the chaotic and tumultuous time that he was living in. He and the band dove deeper into the voodoo-inflected psychedelic rock and R&B of Gris-Gris, while touching upon elements of free jazz and Captain Beefheart-style avant garde. As with his debut record, production was handled by the legendary Harold Battiste, and much of the same session personnel who performed on it returned for Babylon, including Plas Johnson on saxophone, Alvin Robinson on guitar, and backing vocals from Jessie Hill, Shirley Goodman, and Tami Lynn. Babylon stands out as one of Dr. John's most overtly political albums, and is a singularly murky and darkly entrancing record in his discography. A psychedelic swamp of apocalyptic lyrical content, drunk, disorienting experimentation, and a fascinating entry into Dr. John's catalogue well-worthy of his expansive legacy."
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GLOSSY 001LP
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$30.50
PREORDER
RELEASE DATE: 1/24/2020
Glossy Mistakes present a reissue of Raphäel Toiné's Ce Ta Ou / Sud Africa Révolution, originally released in 1986. Imagine standing on an empty room. Nothing seems to be moving. There is not a single noise there. Just a wooden door. You it and you find a space full of color, movement. You can see a few bodies swaying. You can hear clearly a melody. A beautiful vocal. Several palm trees arise. You find yourself in the middle of one of the most beautiful paradises on earth, Martinique Island. What you are hearing is Raphäel Toiné's Ce Ta Ou / Sud Africa Révolution, one of the most gorgeous Zouk albums ever made. Funk arrangements, fat bass, and crazy synths all melt together in a record that transports the dancer to a remote piece of land in the middle of the Caribbean. This rare Afro-boogie and Zouk synth funky LP was recorded in Switzerland in 1986 by this incredible artist that knew how to condense the vibe and lifestyle of a region in a piece of black gold. "Dread Vibrations" or "Sortilège", two of the seven cuts that compose this work are both ready to delight a listener on the prettiest sun rise as well as make dancers drool at the end of a three-day festival. "Femmes Pays Douces" is an impressive exercise where vocals decorate a melodic instrumentation that could be listened in loop forever. "Bizness A Bangkok" is a synth and jazzy masterpiece that captures the '80s pure essence and brings peace to the body and mind. Glossy Mistakes unleashes its second release reissuing this highly demanded piece of music that really deserves to reach an audience that can appreciate this ode to the Caribbean islands. Let yourself loose and embrace the essence of the '80s Raphäel Toiné sounds with a fresh coconut in your hands. Remastered by Wouter Brandenburg. Edition of 600.
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HOLY 001CD
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$12.50
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RELEASE DATE: 1/24/2020
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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HOLY 001LP
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$21.00
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RELEASE DATE: 1/24/2020
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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HPS 121CD
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$7.00
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RELEASE DATE: 1/24/2020
The fifth sampler from Italian label Heavy Psych Sounds. Features 1782, Acid Mammoth, Alunah, Big Scenic Nowhere, Brant Bjork, Disastroid, Duel, Ecstatic Vision, Giöbia, Gorilla, Mondo Generator, Nebula, Nick Oliveri, Nightstalker, Planet Of Zeus, Ryte, and Yawning Man.
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IF 1056CD
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$15.50
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RELEASE DATE: 1/24/2020
Arandel's new opus, InBach, released by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings. Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings, in the prestigious Musée de la Musique in Paris with a view to design his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set Switched on Bach, named in acknowledgement to the legendary 1968 by American composer Wendy Carlos -- Tron (1982), A Clockwork Orange (1972), The Shining (1980). From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians, InBach was a foregone conclusion. In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of historical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: without a net, Arandel walks a tightrope without a faux pas. Features Ben Shemie, Barbara Carlotti, Emmanuelle Parrenin, Vanessa Wagner & Wilhem Latchoumia, and Areski. CD version also features Petra Haden; comes in a digipack with a 20-page booklet presenting the project.
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IF 1056LP
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$23.00
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RELEASE DATE: 1/24/2020
LP version. Arandel's new opus, InBach, released by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings. Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings, in the prestigious Musée de la Musique in Paris with a view to design his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set Switched on Bach, named in acknowledgement to the legendary 1968 by American composer Wendy Carlos -- Tron (1982), A Clockwork Orange (1972), The Shining (1980). From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians, InBach was a foregone conclusion. In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of historical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: without a net, Arandel walks a tightrope without a faux pas. Features Ben Shemie, Barbara Carlotti, Emmanuelle Parrenin, Vanessa Wagner & Wilhem Latchoumia, and Areski.
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INTER 013LP
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$25.50
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RELEASE DATE: 1/24/2020
Intervallo presents a reissue of Leonardo Marletta's Percussioni ed Effetti, originally released in 1983. As often happens in the case of library music albums, even in Leonardo Marletta's one and only record in his career, the titles serve above all as sound indications, as if they were listening guides. In Percussioni ed Effetti (Percussion and Effects) you find a vast array of atmospheres, well explained and illustrated by titles such as "Violenza" (Violence), "Guerriglia" (Guerrilla Warfare), "Allucinazioni" (Hallucinations), "Compulsion", "Battimenti" (Beats), "Sospensioni" (Suspensions), or "Apocalisse" (Apocalypse). All these nouns perfectly fit the mood of the record, which is entirely built on a painstaking work of acoustic and electronic percussions, deep reverbs, drums, cymbals, and hints of piano and organ scattered here and there. Contrary to what one might think, the final result is anything but scant or primitive and shows a spasmodic rhythmic and instrumental research, similar to those you find in some avant-garde jazz works. As Valerio Mattioli remarks in his book Superonda, quoting Marletta's Percussioni ed Effetti, "the moment when library music becomes more interesting is when it abandons any descriptive intent and decides to talk about nothing but itself: a sort of metamusic or 'music in music', an imaginary soundtrack for nothing." Edition of 300.
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INTER 014LP
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$25.50
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RELEASE DATE: 1/24/2020
Intervallo present a reissue of Antonino Riccardo Luciani's Agonia della Civilta, originally released in 1972. The great fame of Antonino Riccardo Luciani, a musician and composer from Palermo, is due above all to his work for television and to one in particular, namely the music for the Almanacco del giorno dopo (Almanac of the Coming Day), a famous program that has been broadcast on the first channel of RAI -- Italian Television for over twenty years. Chanson Balladée, the title, is for many people an indelible memory of a television now disappeared and radically changed, for which Luciani has often composed wonderful themes and soundtracks of great value as Tecnica di un colpo di stato (Technique of a coup d'état). Agonia della Civiltà (Agony of Civilization), on the other hand, is part of his more experimental and abstract works, such as Inchiesta sul mondo (Inquiry Into the World) or Desol, and reveals the less accommodating side of the Sicilian composer, at work with tense atmospheres, hammering percussions, musique concrète, magnificent orchestrations. and bitter reflections on society. Originally released in 1972, the album is paradoxically more relevant in these complicated times. Titles such as "Esodo di Popolazioni" (Exodus of Populations), "Catastrofe Sociale" (Social Disaster), "Disfacimento Ecologico" (Ecological Decay), "Metropoli in Agonia" (Metropolis in Agony), or "Dramma dell'Evoluzione" (Drama of Evolution) foretold our future almost fifty years in advance. Edition of 300.
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JARRA 001CS
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$9.00
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RELEASE DATE: 1/24/2020
"For every un-universe, then, an un-philosophy that must also negate itself." --Eugene Thacker Jarra's artistic exploration started with painting abstract artworks in which he aimed to minimize his part as a painter. The technical approach, craftsmanship, and the concentration devoted to this process should define the artwork in its final state. Jarra's perspective on sound has been in a similar way when he started with field recordings in the late '90s. He consequently aimed to reduce his intervention as a recorder. In 2002, Sama 1 and Sama 2 were released on CD by Dale Lloyd's and/OAR and re-released in 2019. With IsoMonads, made with analog synthesizers, Jarra elaborates on his earlier work in sound. The result is an unmastered, unaltered composition bordering a non-composition. The depth of the sounds in IsoMonads invites the listener to take an everlasting dive into an undefined world. A world in which we maybe could have a sense of sound, existing for us, with us, but maybe even more without us? Essential listening for followers of Roland Kayn, Jaap Vink, Deathprod. Edition of 50.
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LP
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LPOST 015LP
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$31.00
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RELEASE DATE: 1/24/2020
When gazing over the expanse of 20th century avant-garde music, few European projects can claim the seminal importance of the Gruppo di Improvvisazione Nuova Consonanza. Formed in Rome in 1964 and considered to be the first experimental composers collective, its membership included many of the most remarkable voices of its day: Franco Evangelisti, Ennio Morricone, Egisto Macchi, Roland Kayn, Frederic Rzewski, and many others. Creatively radical, rawing on jazz, serialism, musique concrète, and extended techniques -- breaking with the divisions that largely defined the global avant-garde scene, the Group sculpted a body of sound like nothing before or since. Over the last few years, numerous reissues and archival releases have brought their crucial contributions back into the center of the contemporary consciousness. Cinevox highlight the emergence of yet another crucial piece in the puzzle, the reissue of what is arguably the rarest artifact in their catalog: 1975's Gruppo d'Improvvisazione Nuova Consonanza. The collective's fifth full-length release, encounters the project at its sublime best. This incarnation features Macchi, Morricone, Evangelisti, Mario Bertoncini, Walter Branchi, Giovanni Piazza, and Jesus Villa Rojo, each masterfully responding and intervening within an expanse of sound where no one voice takes center stage. Delicate acoustic textures sculpt an endlessly surprising sense of tactile space, penetrated by percussive interventions and atonal squeals, each in their own way defying a concise image of source. Wildly intelligent, and yet feeling so natural that these interactions of sound might have simply always been or appeared, the album captures an archetypal vision of one of the most important groups in the history of the avant-garde -- a singular, and entirely new vision of improvisation and collaboration which laid the groundwork for a countless number of artists who followed in their wake. Fully remastered from the original tapes, which revealed a different sequence than the original Cinevox album. Moreover, "Settimino", the long track that opens the first side, has a completely different structure which can be listened here for the first time. Includes an exclusive 30x30cm, 12-page booklet with never seen before pictures and essays/texts which delve deep into the album. 180 gram vinyl; Edition of 400.
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CD
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MEGAIMP 117CD
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$15.50
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RELEASE DATE: 1/24/2020
An important inter-cultural and commercial crossroads in the center of the Ivory Coast, the town of Bouake prospered during the 20th century around one of the richest and most colorful markets of West Africa. Working in this town in the mid-1970s, the biologist Bernard Mondet was fascinated by the Ivorian, Ghanaian, Malian, Guinean, or Voltaic musical traditions he encountered there. Armed with his Nagra tape recorder and a pair of microphones, he collected a vast number of sound documents in which Senufo and Bobo balafons, lute harps kora of the Manding, Peul, and Mossi flutes, and Birifor musical bows are mingled skillfully. The recordings will appeal to fans of the traditional repertoires of African griots and their main instruments: the kora and the balafon. The set offers a glimpse of musical life in the 1970s in Bouake, the second most populated city in Ivory Coast; it serves as a collection of traditional music recorded with Peul, Bobo, Mandingue, and Birifor musicians from various regions of Ivory Coast, Burkina Faso, Guinea, and Mali. Original sound archives on magnetic tapes, digitized and restored in 2019; Includes 12 black-and-white and color photographs, taken at the same time as the sound recordings. The very first CD to be released in the "Archives" series on the new MEG-AIMP label, which continues the collection founded in 1984 by Laurent Aubert and directed by Madeleine Leclair since 2012. Digipack, notes, and booklet in French and English.
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12"
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MOMA 001EP
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$17.50
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RELEASE DATE: 1/24/2020
Modern Obscure Music label launches a new sub-division named MOMArchives -- a reissue label that will focus on electronic music. The first release is Neocrystal by Japanese producer Yoshihiro Sawasaki. It is a fantastic slice of mid-90s Japanese ambient techno that needs to be heard by a larger audience. Yoshihiro Sawasaki is a Kyoto-based producer who has released music under aliases such as Naturally Gushing and Doctor YS & the Cosmic Drunkards on labels like Sublime Records, Apollo Records, and V2. Neocrystal was originally released on Sublime Records back in 1994. Sublime Records is an important label in the history of Japanese electronic music. The B Side "Magic Dome". This was licensed to Dave Angel's instalment of the legendary X-Mix series on Studio K7!
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LP
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MUSIQ 249LP
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$26.50
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RELEASE DATE: 1/24/2020
Tehran born, Stockholm, Sweden based (now Berlin) DJ and producer Aril Brikha is no newcomer to the global electronic music scene. Since the late '90s his genre meltdown between techno and house seduces club music enthusiasts around the world. Influenced by all sorts of electronic music -- ranging from Depeche Mode, Front 242, and Jean-Michel Jarre to Robert Hood and Underground Resistance -- his sounds always wind between straight up club tracks and more deep unwound moving arrangements. As one of the most prolific producers around he released EPs on labels like Kompakt, Poker Flat, his own company Art Of Vengeance, as well as an album for Derrick May's Transmat imprint and a long-player for legendary Peacefrog Records. After mesmerizing EPs for Mule Musiq in early 2019, he now drops a quieter album on the Tokyo-based enterprise, showing his love for slow, trance-influenced compositions that are perfect for meditative moments and thoughtful party situations. His new productions listen to dreamy names like "A Cautious Gaze" or "Everything Was Here First" and get constantly enlarged with melodies, sounds, and harmonies that go beyond the usual characteristics of a dance album. The overall touch is ambientish; partly discreet rolling bass-lines call for a physical movement while spherical synth lines drift across deep floating trance territory. An album for dreamers, that love to get lost in a contemporary un-nostalgic musical journey without the dictation to dance. a record that explores an infinite space of sound with a heartfelt human touch delivered in eight slow grooving tracks mixed to perfection. All hand out a moving story arc full of fluid in-the-moment moods who dance around subliminal bass shapes and dreamfully synth pads. You can call it ambient. You can call it trance. Whatever you name it, the laidback enthusiasm of Dance Of A Trillion Stars brings an auditory experience that haunts deeply, gives space for the tones between the tones, and prepares all Aril Brikha fans peacefully for his upcoming adventures for the dancefloor.
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CD
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NW 80807CD
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$15.00
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RELEASE DATE: 1/24/2020
"Intercultural composition is no longer a novelty. It has become a familiar, even commonplace, phenomenon. With this recording, Shih-Hui Chen (b. 1962) breathes fresh air into this important genre. In more ways than one, her transcultural work has blurred the lines between individual cultures and represents our rich musical horizon today. Her earlier work is characterized by intense modernist sonorities, polyphonic layers, yearning angular melodies, and firm control of orchestral timbre and structure. It is the profound balance between her earlier modernist sensibility, with its rigorous control of polyphonic layers and structural design on the one hand, and her search for the inner self with materials distinctly different from Western tradition, that marks her accomplishment as a 21st-century composer. In the five works collected here, Chen broadens her reach into several branches of vernacular music -- Nanguan music and Taiwanese opera -- and the Chinese zither of traditional literati. Two use traditional Chinese instruments as soloists with a Western orchestra, one is written for both solo Chinese instrument and Chinese orchestra, and the two remaining works are scored for Western orchestra. Yet it is the source of inspiration that really sets them apart. The earliest work, Concerto for Pipa and Chamber Orchestra (2002), is abstract in conception, with prominent pipa gestures that infuse the composition with distinctive sonorities and melodic tropes. This is followed by three works, each of which uses a melodic source from traditional Chinese genres. Fantasia on the Theme of Guanglingsan for Zheng and Chinese Orchestra (2014) is based on a well-known masterwork, which is full of drama and contrast. It shares certain sonic similarities with the pipa concerto. As a pair they differ significantly from the two following works, centered around Taiwanese Nanguan music. Fantasia on the Theme of Plum Blossoms for String Orchestra (2012) uses as its basis a famous tune from the Nanguan repertoire, while A Plea to Lady Chang'e for Nanguan Pipa and Chamber Orchestra (2013) is essentially a setting of a traditional Nanguan song in the modernist sonic fabric. Finally, Silvergrass, for Cello and Chamber Orchestra (2016) represents a step further in that direction, not only tracing the sonic aspect of another indigenous music genre -- Taiwanese opera -- but also delving deeply into the words, sensibility, and poetic expression of one of the island's literary legends, author Huang Chunming, who is known for his plain, richly colloquial voice."
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2LP
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OSTGUT 034LP
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$29.00
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RELEASE DATE: 1/24/2020
Double LP version. Scanning Backwards, Phase Fatale's second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music -- and sub frequencies in particular -- are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture. Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne's rhythmic excursions explore different manifestations of sound as power -- specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics. In his own words: "All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain -- something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories." Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound -- and brainwaves.
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CD
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OSTGUT 048CD
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$15.50
PREORDER
RELEASE DATE: 1/24/2020
Scanning Backwards, Phase Fatale's second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music -- and sub frequencies in particular -- are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture. Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne's rhythmic excursions explore different manifestations of sound as power -- specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics. In his own words: "All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain -- something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories." Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound -- and brainwaves.
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LP
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PL 097LP
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$22.00
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RELEASE DATE: 1/24/2020
To release a tape in East Germany in 1986 called Ihre großen Erfolge (Their Great Successes) illustrates how every situation produces people that are unwilling to accept that situation. Claus Löser and Florian Merkel were two such people. Their band Die Gehirne and their many side-projects ensured that their hometown of Karl-Marx-Stadt, today's Chemnitz, could assert its role in the independent art world of the GDR. Inspirations included Frank Bretschneider from the experimental electronic band AG Geige, the artist friend Klaus Hähner-Springmühl, the jazz guitarist Joe Sachse, and the free jazz figures Conny Bauer and Luten Petrowsky. A small batch totaling some 35 copies of Their Greatest Hits by Die Gehirne was gradually handed out around the scene to trade with other musicians. For Tapetopia 002, Play Loud! Productions put together a shortened vinyl version, while the complete tape is available for download at the label's website.
Tapetopia is a series of vinyl releases based on cassettes from the East Germany's '80s underground, particularly from the East Berlin "Mauerstadt" music scene, featuring original layouts and track lists. For over 30 years after their initial "release" the music on these tapes was neither available on vinyl nor CD, but they were important statements in the canon of the GDR subculture. Despite the miniscule number of original cassettes in circulation at the time many of the bands were popular in countercultural circles, a factor that made them highly suspect among the government's own inner circles. Tapetopia is edited by Henryk Gericke.
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2LP
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STAUB 151LP
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$23.50
PREORDER
RELEASE DATE: 1/24/2020
Following on from the release of Modern Jazz Dance Classics Volume One (STAUB 148LP) in 2019, which was popular on the jazz underground, the Staubgold's Modern Jazz Dance Classics sub label returns with another compilation comprising mainly of contemporary artists carefully selected by DJ Jeff The Fish, this time on a Latin trip for Sol Vibrations: Latin Dance Movements. There are carefully selected tracks from all over the world to make a great set and selection, including three acts based in Catalonia (Tromboranga, The Santiago Acevedo Ensemble, and Antoine "Tato" Garcia), some from the US (Camille, EC3), the UK (Alex Wilson, Born 74), France (Mayomi, Camarao Orkestra), Japan (Jizue), Brazil (Fabio Chagas), Cuba (Jean Pablo Torres), and Uruguay (La Calenda Beat).
For some time now in the continual hunt for new DJ material to play in the jazz scene, the Modern Jazz Dance Classics label (a division of Staubgold) has been coming across great tracks by current artists that are often only available on digital or CD format. The brainchild of French based DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, MJDC aims to provide DJs with this new music on vinyl and inject new sounds into the jazz dance scene.
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LP
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TER 062LP
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$23.00
PREORDER
RELEASE DATE: 1/24/2020
"Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles. Quiet Music 1 was originally commissioned for a meditation video, which featured a collection of video images of lush forested areas, wild flowers and natural serenity. But by the time the piece was completed the producer passed away and the project was never completed. Quiet Music 1's direct connection to a distinct environment set the tone for the trilogy of albums. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
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LP
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TER 063LP
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$23.00
PREORDER
RELEASE DATE: 1/24/2020
"Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles. Quiet Music 2 was inspired by Steve spending a lot of time in deserts and was created as a natural progression from Structures From Silence, and the more nocturnal feeling of Quiet Music 3 were pieces designed for Steve's personal healing practices. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
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LP
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TER 064LP
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$23.00
PREORDER
RELEASE DATE: 1/24/2020
"Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles... The more nocturnal feeling of Quiet Music 3 were pieces designed for Steve's personal healing practices. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
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TROST 193LP
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$22.00
PREORDER
RELEASE DATE: 1/24/2020
Massive industrial noise and free jazz blasts... 16-17 returning with new material after 25 years. Founded 1983 in Basel by saxophonist Alex Buess and former drummer Knut Remond, they have been shaping the forefront of a new sound area. Playing an abrasive distorted mix of dub, hardcore and free jazz that lead to a meeting of likeminded heavy heads that temporally took part in the band e.g. Kevin Martin (The Bug, Techno Animal) or G.C. Green (Godflesh). After marking their presence and extensive European tours, the band officially split up in 2000. The basis of the new LP Phantom Limb was recorded in 1995 by a new line-up with Alex Buess, Damian Bennett (Techno Animal), and Michael Wertmüller (Full Blast, Nohome, Alboth) additionally expanded by vocalist and writer Eugene S. Robinson (Oxbow) and Kasia Meow.
Personnel: Alex Buess - saxes, bass clarinet, electronics, voice; Damian Bennett- bass; Michael Wertmüller - drums; Eugene S. Robinson - voice, lyrics; Roger Graf - E-guitar, dobro, voice; Kasia Meow - voice; Daniel Buess - drums.
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2LP
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UMA 135LP
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$38.50
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RELEASE DATE: 1/24/2020
Controlled Death is the dark side project by the Japanese noise legend Maso Yamazaki, aka Masonna. In April 2018 he decided to make a shudder debut with first album Symphony For The Black Murder (UMA 125CD) then followed at the beginning of 2019 from second work in an astonishing black wooden box that included Journey Through A Dead Body on vinyl and Deathwish Tapes 1-3 on CD and double-tape (UMA 130LP). Now there's yet another mind-boggling work on double-LP recorded during 2019, Ritualistic Mutilation in the Bloody Darkness. Wild and amazing, this one is absolutely essential for any fan of synth and dark ambient music. Cracked minimal electronic sound by Korg MS-20, unclear and disturbing voice with the influence of primitive black metal and dark ritual in this new double-album which developed a moisturized doom world while wearing a raw material texture. While listening to the records, each long track does meander their way slowly through proceedings with silent pauses, but they nonetheless generate a respectably dense assemblage of sounds. The smell of death is soaked in every groove produced by the four vinyl sides. The activities of Controlled Death are like archaic revival to the music experience before Masonna. You can also find the pathology image of the early industrial period and the shadows of Vienna activism such as Hermann Nitsch as well as loose bits of seminal black metal. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. 140 gram vinyl; deluxe gatefold sleeve with impressive photography (of a cave church with the remains of the people who were massacred by the Saracens in 999 A.D. during the invasion of southern Italy) by Aldo Volpe. Edition of 299.
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3LP BOX
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UMA 136LP
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$90.00
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RELEASE DATE: 1/24/2020
Urashima present a reissue of Incapacitants' Project Pallo '85, originally released in 1985 by Pariah Tapes. The first ever vinyl reissue of one of the most sought-after artifacts from the '80s noise scene, fully remastered edition by Andrea Marutti. It's a great moment for reissues of ambitious, historical gestures of the noise from Japan. One after the other, these artifacts have emerged from the shadows. Few projects can claim the seminal importance of the Incapacitants on worldwide noise scene. The group was formed in 1981 in Osaka, as the solo project of Toshiji Mikawa, a member of the amazing noise group Hijokaidan. Mikawa, a bank employee who then became a deputy general manager of one of the largest securities brokers in Japan, later moved to Tokyo, where he joined with government office worker. Fumio Kosakai (also an occasional member of Hijokaidan as well as a former member of C.C.C.C.) was recruited to make Incapacitants a duo. They've been making some of the most unremittingly ear-shattering racket for decades as Incapacitants, one of the most significant noise outfits to emerge from the groundbreaking Japanese scene in the early 1980s, and still one of the most radical and powerful. They've consistently been responsible for some of the most complex, chaotic, loud, and downright fun releases in the genre. In the early '80s when based in Osaka, Mikawa occasionally performed as Incapacitants as part of various duets, most notably with Yamatsuka Eye of Hanatarash and Boredoms, and set up the Pariah Tapes label in order to release the first Incapacitants material. Starting from 1981 with Eternal Paralysis and Peony Crackers until 1985 with Project Pallo '85 that was produced on the label in triple-cassette and handmade box. About two-and-half hours divided in seven long tracks of just pure, unadulterated electronic distortion done by one of the masters. Fun, terrifying, hypnotic, and fascinating all at the same time; his noise takes root not in violence or gimmickry, but in uncontaminated energy. Triple-LP on 140 gram vinyl; deluxe grey wooden box with front/back laser engraving plus three cardboard colored in 30x30cm from the original box cover art, original dragon drawing by Takuya Sakaguchi used for artwork box and original insert; edition of 299 (numbered).
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UVEGRAF 008LP
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$26.50
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RELEASE DATE: 1/24/2020
"A Laxe Modularys 2.049 is the new album (third after the Kosmos CD) of the pioneering UVEGRAF project, alias of the Madrid musician Juan Teruel. His cassette label and productions played a very important role in the Spanish 80s electronic underground scene. In our opinion, the new album surpasses Sala de Maquinas, the previous vinyl. More solid and regular, it really has the spirit of the 'old school' of the eighties with elements of minimal synth, post-industrial music, and even influences of '70s German electronic music. The ten tracks made primarily with sequencers, synthesizers, and analog rhythm boxes, stand out for their bright and powerful sound. We must mention the outstanding sleeve design by Alonso Urbanos who has been working with industrial groups such as Esplendor Geométrico for some years now." --Andrés Noarbe-Rotor Translucent green vinyl; edition of 300.
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VEN 183CD
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$19.50
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RELEASE DATE: 1/24/2020
"Black metal is already a saturated genre, especially the super-atmospheric corner that Vukari occupies, but the band steps out of that (and their own) mold with Aevum. The riffs are tighter, the blasts are more concrete, and the songwriting has become extremely emotive -- any 'flatness' predicated by Vukari's postmodern tilt gets destroyed just by just the sheer weight of the thing. Aevum is emotionally heavy, the most important kind of heavy, and that ethos has been woven throughout all eight of these medium-format tracks" --Invisible Oranges. Vukari is: Marek Cimochowicz - guitar, vocals; Spenser Morris - bass; Mike DeStefano - drums, keyboards; Jace Kiburz - guitar.
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VEN 183LP
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$27.50
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RELEASE DATE: 1/24/2020
LP version. "Black metal is already a saturated genre, especially the super-atmospheric corner that Vukari occupies, but the band steps out of that (and their own) mold with Aevum. The riffs are tighter, the blasts are more concrete, and the songwriting has become extremely emotive -- any 'flatness' predicated by Vukari's postmodern tilt gets destroyed just by just the sheer weight of the thing. Aevum is emotionally heavy, the most important kind of heavy, and that ethos has been woven throughout all eight of these medium-format tracks" --Invisible Oranges. Vukari is: Marek Cimochowicz - guitar, vocals; Spenser Morris - bass; Mike DeStefano - drums, keyboards; Jace Kiburz - guitar.
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VEN 184LP
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$27.50
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RELEASE DATE: 1/24/2020
MMXVII - MMXVIII combines two EPs from Abyssal Vacuum, the one from 2017 and the other from 2018.
"Abyssal Vacuum reveals a distinctive musical vision and 'voice', offering a conception of black metal that manages to be both mesmerizing and strikingly intense. Emanations from a deep and cavernous abyss, 'like exploring the darkest caves of Earth', but the experience it creates might also bring to mind the mysteries of the cosmos lurking in a hostile off-world void." --no clean singing
"This project is a thick wall of black hate that is far more powerful than much of what you're hearing today. Abyssal Vacuum is a project that needs to be respected because it's that fucking good!" --cvlt nation
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CD
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VEN 185CD
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$19.50
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RELEASE DATE: 1/24/2020
Black metal from Germany. Verheerer is German/Dutch for "devastator".
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LP
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VEN 185LP
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$27.50
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RELEASE DATE: 1/24/2020
LP version. Black metal from Germany. Verheerer is German/Dutch for "devastator".
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VEN 186CD
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$19.50
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RELEASE DATE: 1/24/2020
Black metal band from Cologne, Germany. Featuring members of Planks, Goldust, Ghostrider, and Atka. Ultha is Ralph Schmidt, Lars Ennsen, Manuel Schaub, Andreas Rosczyk, and Chris Noir. Recorded by Andreas Rosczyk at Goblin Sound Studio. Mastered by Michael Schwabe at Monoposto Mastering.
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LP
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VEN 186LP
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$27.50
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RELEASE DATE: 1/24/2020
LP version. Black metal band from Cologne, Germany. Featuring members of Planks, Goldust, Ghostrider, and Atka. Ultha is Ralph Schmidt, Lars Ennsen, Manuel Schaub, Andreas Rosczyk, and Chris Noir. Recorded by Andreas Rosczyk at Goblin Sound Studio. Mastered by Michael Schwabe at Monoposto Mastering.
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CD
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VEN 187CD
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$19.50
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RELEASE DATE: 1/24/2020
Formed in 2010, Sun Worship is a black metal band from Germany. Emanations Of Desolation is their third album. Recorded & mixed by Andy Rosczyk at Goblin Sound Studio, April-May 2019. Mastered by James Plotkin.
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2LP
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VEN 187LP
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$33.00
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RELEASE DATE: 1/24/2020
Double LP version. Formed in 2010, Sun Worship is a black metal band from Germany. Emanations Of Desolation is their third album. Recorded & mixed by Andy Rosczyk at Goblin Sound Studio, April-May 2019. Mastered by James Plotkin.
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VEN 188CD
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$19.50
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RELEASE DATE: 1/24/2020
Atmospheric black metal orientated towards the aesthetic of Scandinavian metal music, without reproducing any stereotype but by walking off the beaten track. Wandar's music is not played by routine -- it is celebrated: If it was a picture, it would display mountains and forests, haze, and fire. Recorded at Lovecave, Halle an der Saale, MMXVIII - MMXIX. Mixed and Mastered at Hallgard Studio, Halle an der Saale, MMXIX.
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LP
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VEN 188LP
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$27.50
PREORDER
RELEASE DATE: 1/24/2020
LP version. Atmospheric black metal orientated towards the aesthetic of Scandinavian metal music, without reproducing any stereotype but by walking off the beaten track. Wandar's music is not played by routine -- it is celebrated: If it was a picture, it would display mountains and forests, haze, and fire. Recorded at Lovecave, Halle an der Saale, MMXVIII - MMXIX. Mixed and Mastered at Hallgard Studio, Halle an der Saale, MMXIX.
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LP
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VEN 190LP
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$25.50
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RELEASE DATE: 1/24/2020
Black metal from Denmark. "Liosber is a band of Danish black metal veterans (who include members of Horned Almighty), a project that has been fermenting for the last five years in the shadows and now has come to fruition in the form of a four-track EP named Constrictor: Redeemer. The songs are also multi-faceted as well as packed with memorable hooks, veering from the sound of grand conflagrations into doom-stricken scenes of plague-driven fear and wailing grief, or of black incantations being woven in the ether . . . It won't take you long to realize that Liosber's song-craft is of a high order, as are their performances. It's entirely believable that the members are veterans." --no clean singing
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LP
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VM 226LP
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$34.00
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RELEASE DATE: 1/24/2020
A reissue of Egisto Macchi's Fauna Marina, originally released in 1972. At the end of the '60s in Italy -- but also abroad, especially in France and England -- a very particular trend began to spread, that one known as "Library music" or "sonorization": as suggested by its name, those were real music libraries intended for the accompaniment of audiovisual productions such as television programs, advertisements, documentaries, and films. Since they were created in total artistic freedom condition, they are often difficult if not impossible to catalog, as they're not anchored to a specific musical genre; this freedom also allowed the authors to compose, sometimes in the most complete anonymity, experimental and avant-garde music, capable of anticipating the sounds that only many years later would have been widespread on a larger scale. Egisto Macchi (1928-1992) was one of the most active composers of the sonorization and soundtrack genres together with artists such as Piero Umiliani, Alessandro Alessandroni, and Ennio Morricone; he also collaborated with the latter in the experimental music project Gruppo di Improvvisazione Nuova Consonanza. Fauna Marina is among his most popular and sought-after by collectors' titles: a set of eleven compositions intended to accompany the images of a hypothetical fish fauna documentary, an abstract hybrid of classical, contemporary, and jazz music that is still fresh and surprising today. Fauna Marina is part of a reissues series, made in collaboration with Edizioni Leonardi (Milan, Italy), of extremely rare library music LPs published between late '60s and early '70s, most of which have never been re-released until today, and that are finally made available again for collectors and sonorization music lovers. Original liner notes by Jonny Trunk. 180 gram vinyl; includes obi; Edition of 300.
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LP
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LION 178LP
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$25.00
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RELEASE DATE: 1/28/2020
"What was available to unknown hard rocking dreamers like Umbra in Denver in 1971-72? Weekend gigs. Nothing but weekend gigs. But there was an upside to that: bands like Umbra could mix original material in with covers, and make enough money to survive. Or in the case of Umbra, to make enough money to build a home studio, where they recorded ads to promote their upcoming shows -- and eventually, laid down the eight tracks on this disc. Everything was recorded by bouncing tracks back and forth between two-track and four-track reel-to-reel tape recorders. Spacey intros and weird effects were created by recording guitar licks, then re-recording them played backwards at double speed. What sounds like a flute was the result of blowing over the top of a 14" goose neck (believe it or not). The resulting tracks are hard edged and heavy, verging on acid rock at times. Makes sense, as Umbra was a power trio most of their too-brief existence. Yet the songs (heavy though they are) have a deft touch. There are weird effects, space rock elements, plenty of melody, and a refreshing category-free approach to writing songs that makes Umbra's music exciting to hear. Our Lion LP edition comes with an 8-page LP-sized color booklet, with lyrics, photos, plus interesting and funny things that can only happen to musicians, and did to Umbra. We know that band bios can be sterile and boring or can move to the opposite spectrum, rife with grandiose embellishment. Umbra's story is neither. Instead, it is the story is the story of a band from the early 1970's who recorded what they wanted to record: heavy, heavy music from the start of the 'American Comedown Era' (as we've seen it described by friends for their Brown Acid series of compilations). Umbra's story is also that of a band whose music, terrific though it is, has never to this point been released out into the wide world. Prepare yourselves to be surprised -- and we hope as impressed as we are -- by what Umbra had to offer. First ever release of any recordings by this fascinating heavy rock group from Colorado. 8-page LP-sized color booklet with lyrics, photos, and stories from the road."
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2LP
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1972 006LP
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$34.00
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RELEASE DATE: 1/31/2020
"Philophobia, Arab Strap's sophomore slam dunk released in the spring of 1998, begins with one of the most memorable opening lines in all of indie rock: 'It was the biggest cock you'd ever seen, but you've no idea where that cock has been.' So begins an album that, while picking up thematically where the duo's debut album The Week Never Starts Round Here left off, promises from its very first seconds a renewed sense of purpose: the narratives are more streamlined, the music more confident and mature. Gone are the sketches and doodles that unquestionably distinguished 1996's The Week Never Starts Round Here as the work of first timers, replaced with a consistent, almost conceptual, musical framework. On Philophobia, singer and lyricist Aidan Moffat's realism is more profane, gritty and poignant, while multi-instrumentalist Malcolm Middleton's honeyed orchestrations increasingly provide clinics in subtlety and restraint. Part of the appeal of Arab Strap's post-everything music is the way the group's songs make every listener feel like either a voyeur or a trusted confidante. The ever-present humanity in future sex advice columnist Moffat's first person tales of debauchery and regret is a through-line running through each of these frank and vivid songs: the same narrator who confesses to sniffing his fingers after a sexual encounter and boasts about the size of his penis also yearns to 'hug' a lover to death, finds himself crying on the bus, and wonders idly -- but hopefully -- whether or not he's truly in love with the woman he's just slept with. It is this duality, complemented by Middleton's imaginative and deeply sensitive accompaniment, that makes Philophobia one of the most original and most enduring front-to-back albums in the canon of modern indie rock; over two decades later, it still sounds warm to the touch."
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12"
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2DIY4 023EP
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$12.00
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RELEASE DATE: 1/31/2020
False promises, true emotions. It isn't what you say, but how you say it. What you mean. How you act. UNDERHER delivers slow, sensual tales of heartbreak. Complex rhythms sounding like the feeling in your chest when you find out your lover has been unfaithful. The chilling voices of Neev, Liz Cass, and October's Child add a sweet sincerity to the dramatic compositions of Montreal-born, Berlin-based Khaled Bess, better known as UNDERHER, and together create the three tracks that make listening to the False Promises EP so worthwhile.
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LP
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ATS 065LP
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$51.00
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RELEASE DATE: 1/31/2020
"Grammy-nominated Japanese folk singer Chitose Hajime remixed by Ryuichi Sakamoto, Ras G and Tim Hecker. Hajime has been performing the traditional island music called Amami Shima Uta since she was a teenager. Hailing from the southernmost island of Japan, Amami Oshima, grammy nominated vocalist Chitose Hajime last year released the album Amami Shima-Uta, named after the traditional music of her home island. Six pieces from the album have now been expertly given the remix treatment. Ryuichi Sakamoto, Tim Hecker, Dorian Concept and the late Ras G are just some of the artists tasked with remixing tracks from Amami Shima-Uta, which was released last year. Hajime-Uta Yugen -- Chitose Hajime Amami Shima-Uta Remix showcases genre-spanning interpretations on the traditional island folk music that Hajime has been performing since she was a teenager. Chihei Hatakeyama, Ryuichi Sakamoto and the late Ras G all deliver abstracted ambient cuts, filled with gorgeous, brooding textures and sparse arrangements. Tim Hecker goes for a more contemporary approach, the result being a heavily auto-tuned interpretation with plenty of glassy synths for good measure. Ninja Tune associate Dorian Concept, in his unique way bucks the trend and serves up a bouncy, skipping take, far removed from the approach of the others. Finally, Shintaro Sakamoto delivers a truly bizarre version that (in a brilliant way) sounds like very unnerving elevator music. A new song created by the fusion of different genres. The jacket is designed by Mitsuo Shinto as well as 'Genroku-Gen Chitose Amami Shima Collection', and the work of Japanese painter Ichimura Tanaka is used. 130 gram black vinyl in a single-pocket jacket."
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CD
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BB 329CD
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$17.00
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RELEASE DATE: 1/31/2020
Bureau B present a reissue of Heldon's Un Rêve Sans Conséquence Spéciale, originally released in 1976. Heldon's Richard Pinhas has never been shy of pinpointing his influences while, at the same time, making music that is noticeably distinct from any of his designated sources. He has, for instance, made it clear that a significant font of inspiration was Robert Fripp's guitar style and melding of rock music with cutting-edge electronics (especially in collaboration with Brian Eno). Indeed, Heldon's fifth album, Un Rêve Sans Conséquence Spéciale, was named after a live bootleg of a King Crimson concert. Pinhas first met Fripp in 1974, and the pair became friends and have remained in contact ever since. Pinhas was even offered a deal with E.G. Records, the company that oversaw King Crimson alongside other successful groups like Roxy Music and ELP. "That was a dream," says Pinhas. "But when you are 22, you are in a hurry. They asked me to wait one or two years before joining the team. I couldn't wait two years!" Instead, Pinhas launched his own label, Disjuncta, which he later sold to purchase the Moog synthesizer that would make a huge difference to Heldon's sound. Heldon's output also drew from radical science fiction (Philip K. Dick, Norman Spinrad, etc.) as well as philosophy: the sleeve features a quote from Pierre Klossowski's Nietzsche and the Vicious Circle (1969). Heldon never represented a mere facsimile of Pinhas's musical touchstones: King Crimson, Jimi Hendrix, Miles Davis, or Frank Zappa. Heldon was always its own beast and by 1976 it was thriving and roaring like never before. More work was being completed in a proper studio, the Moog helped strengthen the sound and direction, and Pinhas's rotating cast of collaborators was solidifying into something resembling a regular lineup, with François Auger on drums and Patrick Gauthier on synthesizers. The result was a darker, heavier, and more intense sound. The LP opens with the prog-gone-skronk onslaught of "Marie Virginie C", sounding rather like Robert Fripp being sliced into bloody chunks in Thurston Moore's basement. Auger is the star of "Elephanta", in all its Moog-assisted polyrhythmic glory. On side two, "MVC II" offers six minutes of sinister dystopian squelch rock. It's followed by "Toward The Red Line", an epic piece conceivably serving to connect the dots between Hawkwind's most freeform passages and the Detroit techno innovations of the coming decade.
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CD
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BB 330CD
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$17.00
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RELEASE DATE: 1/31/2020
Bureau B present a reissue of Heldon's 6 - Interface, originally released in 1977. A brilliant moment occurs right at the end of Heldon's sixth album, Interface. The album's final song, its side-long title track, builds up slowly into a roaring tornado of fiercely mutating drum patterns, effervescent synth work, and guitar licks that wail into the atmosphere like an abandoned astronaut. Then, after nearly 19 minutes of highly futuristic avant-garde space rock, this ultramodern music fades out and is replaced by a concluding few seconds of traditional blues-rock guitar. "We were finishing the track, the tape was rolling, and I started to play a normal boogie or whatever," remembers Heldon leader Richard Pinhas. "I think it was a good idea to keep it. It just came naturally, at the end." This event acts as a reminder of just how far rock n' roll had been transformed since its earliest incarnations. This blueprint had been jolted and nudged down all kinds of unexpected avenues after players like Chuck Berry and Bill Haley first found fame. The genre had branched out into every manner of mutated form. It had given rise to misshapen clones and had shifted into unrecognizable shapes, like a beautiful alien creature from one of the science fiction tales that were fondly admired by so many experimental rock musicians, Pinhas included. Heldon, surely, represented one of rock n' roll's most distant relatives; an innovative fusion of avant-garde rock sounds and synthesizer pulsations. At the same time, Interface's unexpected ending also tells us that such music, however improvisatory or fused with electronic elements, will forever have its roots in those early rock n' roll records that are responsible for so many varieties of aural exploration. Thanks to the increased presence of drummer François Auger and synth/Moog man Patrick Gauthier, Pinhas's project had solidified into a harder and heavier unit. Around the time of the album's release, the musician and composer Jean-Philippe Goude told Pinhas that because of its merging of synthesizer sounds with "real" instrumentation. Despite its often warm and near-funky feel, Interface has been cited as an influence on key industrial and noise musicians including Wolf Eyes and Merzbow.
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CD
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BB 331CD
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$17.00
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RELEASE DATE: 1/31/2020
Bureau B present a reissue of Heldon's seventh and final album of the 1970s Stand By, originally released in 1979. After the release of Stand By, Richard Pinhas focused on solo LPs before quitting music for around a decade. "It was the end of the tale," he explains. "We decided to split for many reasons. The main one was that one or two of the other musicians wanted to stop. They were session musicians, mainly. At one point they said they didn't have so much time to give. And it was a time when a lot of bands who had become reluctantly successful decided to split . . . Split at the top, not waiting to go down." Heldon certainly went out on a high. Stand By's mood remains urgent and gripping throughout, fashioned via immense synthesizer sounds, a plethora of interweaving drum patterns, spiraling guitar chops, and lurching riffs. It's been likened to krautrock, yet Pinhas never paid attention to the German scene. There are other similarities to parallel innovations that John Carpenter was making in the field of sci-fi/horror soundtracks. The hazmat-suit-wearing figure on Stand By's cover could have starred in such a movie. The album's unearthly vocals were provided by Klaus Blasquiz of Magma. Some progressive musicians of the '70s felt threatened by the rise of punk -- Not Pinhas. As producer, he worked with French punk acts like Asphalt Jungle. No, Pinhas was more troubled by wider world developments. These miseries played their own part in Heldon's demise. "We recorded Stand By in '78, going into '79. Politics had all shifted to the right with your Maggie Thatcher and, in America, that very bad actor. They started the bullshit of neoliberalism that we have to live with now, everywhere. We're going to be in a very fascistic world within twenty years. Not even that long. The initiation of this change came with Reagan and Maggie. It started in the '80s." Stand By was recorded at Studio Davout, the Parisian home to recordings by everyone from Karlheinz Stockhausen to Johnny Hallyday. That, too, has fallen victim to brutal economics. It was demolished in 2018. "They destroyed the main historical studio in France to put up a supermarket!" says Pinhas. "It was a place where a lot of things happened. Musicians were working all night long. It could've been a museum for music."
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CD
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BT 057CD
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$15.50
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RELEASE DATE: 1/31/2020
Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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LP
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BT 057LP
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$23.50
PREORDER
RELEASE DATE: 1/31/2020
LP version. Nantes-based Australian drummer and percussionist Will Guthrie returns to Black Truffle with Nist-Nah. Like his previous solo record on the label, the abrasive hip-hop concrète of People Pleaser (BT 027LP, 2017), Nist-Nah finds Guthrie branching out in a new direction, this time in a suite of six percussion pieces primarily using the metallaphones, hand drums, and gongs of the Gamelan ensembles of Indonesia. The music presented here is grounded in Guthrie's travels in Indonesia and study of various forms of Gamelan music, from the stately suspended temporality of the courtly Javanese Gamelan Sekatan, to the delirious, thuggish repetition that accompanies the Javanese trance ritual Jathilan, to the shimmering acoustic glitch of contemporary Balinese composer Dewa Alit and his Gamelan Salukat/ However, far from an exercise in exoticism, Nist-Nah develops out of Guthrie's extensive work with metal percussion in recent years (as heard, for example, on his 2015 LP for iDEAL, Sacrée Obsession), where gongs, singing bowls and cymbals are used to build up walls of hovering tones and sizzling details. Though Guthrie is broadening his palette to explore Gamelan instrumentation and pay tribute to his love of this sophisticated yet elemental percussion music, the pieces presented here are equally informed by Guthrie's interests in free jazz, electro-acoustic music, and diverse experimental music practices, exploring long tones, extended techniques, and non-metered pulse. Nist-Nah presents a variety of approaches across its six pieces, from the crisp, precise rhythmic complexity of the opening title track to the droning textures of "Catlike" and "Elders". On the epic closing "Kebogiro Glendeng", Guthrie offers an extended, layered rendition of a Javanese piece belonging to a repertoire primarily used for warmups, beginner's groups and children first learning Gamelan, elegantly gesturing to his own amateur status while using the piece's insistently repeated melody as an extended exploration of the hypnotic effects of repetition, falling in and out of time with himself to create woozy, narcotic effects until the piece eventually dissolves into a wavering fog. Images by Sylvie Meunier. Recorded in 2019 by Lucas Pizzini. Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Cut by Kassian Troyer at Dubplates & Mastering, Berlin.
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2LP
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CPT 558LP
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$22.00
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RELEASE DATE: 1/31/2020
Automat -- Jochen Arbeit (Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald), and Georg Zeitblom (wittmannzeitblom) -- operates like a well-oiled machine: it buzzes, it whirrs, it follows an unswerving course. Together with modular magician Max Loderbauer and Paul St. Hilaire, aka Tikiman, Lydia Lunch, and Mika Bajinski on vocal duties, they now present Modul their most varied and consistent album to date, on Compost Records. On their fourth album, the trio shifts down a gear, further refines its musical approach and partners with other figures from the world of adventurous music. The eight pieces on Modul were written collectively based on a building block system that dynamically set the compositional process in motion and evenly divided responsibility between all participants. The result is a musical perpetuum mobile -- an album with the steady resting pulse of a dub production that always stays on the move. As an album, »Modul« captures a continuous process of transformation that was first to be experienced in the year 2018, when Automat presented an earlier version at the Pop-Kultur festival as part of a commissioned work. Having been invited by the curatorial team, Zeitblom, Färber, and Arbeit together with their guests St. Hilaire, Lunch, and Gemma Ray created a live set that was resolutely developed in the studio on the basis of single modular elements that were (re-)combined according to the principle of a resonance module: it's a to-and-fro between the individual members, structures morph and the sound incessantly takes on different shapes.
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CD
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ESPDISK 5038CD
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$12.00
PREORDER
RELEASE DATE: 1/31/2020
Gowanus Session II was seven years in the planning. Thollem McDonas, Nels Cline, and William Parker convened at Peter Karl Studios in Brooklyn on January 3rd, 2012 and recorded two complete albums. The first was Gowanus Session I, released by Porter Records in April of 2012. GS II was put aside to eventually complete the five-album palindromic cycle of trio albums Nels and Thollem ambitiously set out to realize. The albums in between include Radical Empathy with Michael Wimberly (Relative Pitch, 2015), Molecular Affinity with Pauline Oliveros (ROAR 042LP, 2016), and Reality and Other Imaginary Places, with Michael Wimberly (ESPDISK 5035CD/LP, 2019). William Parker debuted on ESP-Disk' in the mid-70s on Frank Lowe's classic album Black Beings (ESPDISK 3013CD) and has returned to the label this decade on the Black Beings sequel, The Loweski (ESPDISK 4066CD) and with Mat Walerian's group Toxic (ESPDISK 5011CD, 2017) and in a quartet with Ivo Perelman, Matthew Shipp, and Bobby Kapp (ESPDISK 5036CD, 2019), while being highly prolific as a leader, notably with a series of brilliant albums on AUM Fidelity. Nels Cline has spent decades changing people's ideas about the role of the electric guitar in multiple contexts, ranging from Wilco to Anthony Braxton (think about that!) as well as many projects as a leader, earning a spot on Rolling Stone's Top 100 Guitarists list. Thollem is a perpetually traveling pianist, keyboardist, composer, improviser, singer-songwriter, activist, author, and teacher. He's spent most of his adult life living on the road throughout North America and Europe. His work is ever-changing, evolving and responding to the times and his experiences, both as a soloist and in collaboration with hundreds of artists across idioms and disciplines. Thollem is known internationally as an acoustic piano player in the free jazz and post-classical worlds, as the lead vocalist for the Italian agit-punk band Tsigoti, and as an electronic keyboardist through a multitude of projects. Personnel: William Parker - bass; Nels Cline - electric guitar/effects; Thollem McDonas - piano. All compositions by Thollem McDonas, William Parker, Nels Cline.
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LP
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ESPDISK 5038LP
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$23.00
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RELEASE DATE: 1/31/2020
LP version. Gowanus Session II was seven years in the planning. Thollem McDonas, Nels Cline, and William Parker convened at Peter Karl Studios in Brooklyn on January 3rd, 2012 and recorded two complete albums. The first was Gowanus Session I, released by Porter Records in April of 2012. GS II was put aside to eventually complete the five-album palindromic cycle of trio albums Nels and Thollem ambitiously set out to realize. The albums in between include Radical Empathy with Michael Wimberly (Relative Pitch, 2015), Molecular Affinity with Pauline Oliveros (ROAR 042LP, 2016), and Reality and Other Imaginary Places, with Michael Wimberly (ESPDISK 5035CD/LP, 2019). William Parker debuted on ESP-Disk' in the mid-70s on Frank Lowe's classic album Black Beings (ESPDISK 3013CD) and has returned to the label this decade on the Black Beings sequel, The Loweski (ESPDISK 4066CD) and with Mat Walerian's group Toxic (ESPDISK 5011CD, 2017) and in a quartet with Ivo Perelman, Matthew Shipp, and Bobby Kapp (ESPDISK 5036CD, 2019), while being highly prolific as a leader, notably with a series of brilliant albums on AUM Fidelity. Nels Cline has spent decades changing people's ideas about the role of the electric guitar in multiple contexts, ranging from Wilco to Anthony Braxton (think about that!) as well as many projects as a leader, earning a spot on Rolling Stone's Top 100 Guitarists list. Thollem is a perpetually traveling pianist, keyboardist, composer, improviser, singer-songwriter, activist, author, and teacher. He's spent most of his adult life living on the road throughout North America and Europe. His work is ever-changing, evolving and responding to the times and his experiences, both as a soloist and in collaboration with hundreds of artists across idioms and disciplines. Thollem is known internationally as an acoustic piano player in the free jazz and post-classical worlds, as the lead vocalist for the Italian agit-punk band Tsigoti, and as an electronic keyboardist through a multitude of projects. Personnel: William Parker - bass; Nels Cline - electric guitar/effects; Thollem McDonas - piano. All compositions by Thollem McDonas, William Parker, Nels Cline.
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FILM 004CD
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$15.50
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RELEASE DATE: 1/31/2020
Eight early songs written and produced by Tase, recorded on 16-track tape machine. Neues Deutschland Studio 2010-2011. Tase is producer Sven Rieger. Co-founder of SUED, Rieger records under aliases SVN and Ixus and in groups such as AU, Département d'Éducation Psychique, Dreesvn, and S.P. Posse.
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LP
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FILM 004LP
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$26.50
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RELEASE DATE: 1/31/2020
LP version. Eight early songs written and produced by Tase, recorded on 16-track tape machine. Neues Deutschland Studio 2010-2011. Tase is producer Sven Rieger. Co-founder of SUED, Rieger records under aliases SVN and Ixus and in groups such as AU, Département d'Éducation Psychique, Dreesvn, and S.P. Posse.
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FORDIS 006LP
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$22.00
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RELEASE DATE: 1/31/2020
Far Out Recordings present the first ever vinyl reissue of Cry Babies' self-titled debut album, originally released in 1969. An early formation of Brazilian funk greats Banda Black Rio, Cry Babies took inspiration from the iconic US soul records of James Brown, The Isley Brothers, and Kool & The Gang, all of whom are covered on their first and only album. Pioneering Brazil's funk fascination, Cry Babies paved the way for the likes of Jorge Ben, Dom Salvador, Trio Mocotó, and Azymuth: with fat, funky drum breaks, big round bass, touches of psychedelic Brazilian surf, and the kind of hazy soulful arrangements that could only emerge from Rio de Janeiro. Produced by one of Brazil's most prolific musical minds, Durval Ferreira -- whose songwriting and production credits also include Sergio Mendes, Deodato, Emilio Santiago, Ed Lincoln, Joao Bosco, Quarteto Em Cy, and Dila -- the Cry Babies sound, while distinctly North American in influence, carries all the sunshine warmth of the samba jazz and bossa nova records that were coming out of Brazil at the time. With saxophonist Oberdan Magalhães responsible for the album's arrangements, it's no surprise that when Warner Music established themselves in Brazil in the mid-seventies, Magalhães was the man they asked to form a group (Banda Black Rio) to develop this new merging of stateside soul and Brazilian influences. Yet while Banda Black Rio's tight, groove-heavy sound has awarded them cult status amongst lovers of instrumental Brazilian music, their first formation as Cry Babies is a lesser-known story. Since its first and only release, the original record has remained impossibly expensive and hard to find. This first ever vinyl reissue has been remastered and pressed to 180 gram vinyl, with a high-quality replica sleeve.
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2LP
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GET 51311LP
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$31.00
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RELEASE DATE: 1/31/2020
2020 repress. "dead prez may have been slightly ahead of their time during their golden years, but that is definitely meant as a compliment. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy / Roc-AFella era of nihilistic excess in the late '90s, they also signed to a major label (Loud / Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing -- using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself -- consisting of MCs stic.man and M-1, who produced or co-produced most of the duo's music -- was formed in Tallahassee, Florida in the early 1990s (M-1 originally hailed from Brooklyn). By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to Soul In The Hole and Slam, as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark 'Police State,' on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let's Get Free. The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let's Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of 'Hip-Hop' (which became the de facto theme song for 'Chappelle's Show'); 'It's Bigger Than Hip-Hop,' with a remix co-produced by a young Kanye West; 'Mind Sex' (with Abiodun Oyewole of the Last Poets); and the poignant 'I'm An African.' But the singles weren't the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000s peers. Highlights: the thought-provoking, anti-drug album opener 'Wolves'; 'We Want Freedom' (co-produced by frequent collaborator Hedrush); 'They Schools' and 'Propaganda' (co-produced by Lord Jamar, one of five songs he assisted on). All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time. If you don't agree with the previous sentence, give Let's Get Free another listen... you might be surprised at how well it has held up over the years."
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CD
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GR 2148CD
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$16.50
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RELEASE DATE: 1/31/2020
Esplendor Geométrico, the influential "industrial" pioneers of the pulsating, hypnotic, and mechanical rhythms, returns with a new album Cinëtica, after their previous Fluida Mekaniko (GR 2140CD/LP, 2016). Based now in Shanghai and Rome, they have not stopped their live performances all over the world in the last two years (Germany, Spain, Russia, UK, France, Italy, and recently Chile) with great success. The material was recorded between 2018- 2019. Cinética gives a twist to the line that the group has followed in their last albums, highlighted by a more elaborate sound. A less raw sound, but without losing the essence of EG: hypnotic rhythms and innovative industrial music, danceable and tribal sometimes. Certain songs like "Acoplamiento Internacional" and "Modulaciones", with Eastern and African voices, remember the classic LP Mekano Turbo (1988) that is considered as one of the best albums of EG. In Cinética, there are filtered and natural voices, broken, mechanical and industrial rhythms, synthesizers layers, percussion, noise, distortion, Mongolian chants... Esplendor Geométrico celebrates its 40th anniversary in 2020 and prepares special editions for that year. They have developed a unique style since 1980 that influenced many "industrial" musicians around the world, including the new trends of industrial techno. CD version includes two bonus tracks; edition of 500.
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LP
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GR 2148LP
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$25.00
PREORDER
RELEASE DATE: 1/31/2020
LP version. Edition of 600. Esplendor Geométrico, the influential "industrial" pioneers of the pulsating, hypnotic, and mechanical rhythms, returns with a new album Cinëtica, after their previous Fluida Mekaniko (GR 2140CD/LP, 2016). Based now in Shanghai and Rome, they have not stopped their live performances all over the world in the last two years (Germany, Spain, Russia, UK, France, Italy, and recently Chile) with great success. The material was recorded between 2018- 2019. Cinética gives a twist to the line that the group has followed in their last albums, highlighted by a more elaborate sound. A less raw sound, but without losing the essence of EG: hypnotic rhythms and innovative industrial music, danceable and tribal sometimes. Certain songs like "Acoplamiento Internacional" and "Modulaciones", with Eastern and African voices, remember the classic LP Mekano Turbo (1988) that is considered as one of the best albums of EG. In Cinética, there are filtered and natural voices, broken, mechanical and industrial rhythms, synthesizers layers, percussion, noise, distortion, Mongolian chants... Esplendor Geométrico celebrates its 40th anniversary in 2020 and prepares special editions for that year. They have developed a unique style since 1980 that influenced many "industrial" musicians around the world, including the new trends of industrial techno.
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HELLEX 001CD
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$15.50
PREORDER
RELEASE DATE: 1/31/2020
The self-titled original soundtrack from the much-hyped Berlin-based movie Yung (2018). Music supervision by DJ Hell. First release on the brand-new DJ Hell label, The Hell Experience. Features DJ Hell, Tyrell, MCNZI, Fango, Abblou, YUNG, Malakoff Kowalski, and Vegas by Night.
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HPS 073D-LP
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$28.50
PREORDER
RELEASE DATE: 1/31/2020
LP version. Limited edition green fluo vinyl. Black Rainbows are back two years from their last album, Stellar Prophecy (HPS 037CD/LP/LTD-LP, 2016) with a magnificent new full-length comprised of nine tracks for about 45 minutes of music. Pandaemonium has this mix of new wave of stoner-occult riffing a la Black Sabbath, but in a heavier way. Some of the songs remind of Fu Manchu but sound heavier than ever, and then you have one long doom-sludge-stoner suite ("Grindstone"), and a couple of lysergic, dreamy, heavy psych songs that will blow your mind. The album sounds killer and was recorded at Forward Studios, one of Italy's finest recording spaces. Produced by Gabriele Fiori and engineered by Fabio Sforza, with a special focus on the drums, handled for the first time in Black Rainbows by Filippo Ragazzoni. Bass riffing is solid and has a mellow sound, and the wall of fuzz from Fiori's guitars will drive you nuts. Artwork will be, for the third time for the band, from the visionary SoloMacello. This is the sixth studio album for the band, and by far the best one yet. It's the most solid and complete album they have ever recorded.
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HPS 073Y-LP
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$28.50
PREORDER
RELEASE DATE: 1/31/2020
LP version. Limited edition yellow splatter vinyl. Black Rainbows are back two years from their last album, Stellar Prophecy (HPS 037CD/LP/LTD-LP, 2016) with a magnificent new full-length comprised of nine tracks for about 45 minutes of music. Pandaemonium has this mix of new wave of stoner-occult riffing a la Black Sabbath, but in a heavier way. Some of the songs remind of Fu Manchu but sound heavier than ever, and then you have one long doom-sludge-stoner suite ("Grindstone"), and a couple of lysergic, dreamy, heavy psych songs that will blow your mind. The album sounds killer and was recorded at Forward Studios, one of Italy's finest recording spaces. Produced by Gabriele Fiori and engineered by Fabio Sforza, with a special focus on the drums, handled for the first time in Black Rainbows by Filippo Ragazzoni. Bass riffing is solid and has a mellow sound, and the wall of fuzz from Fiori's guitars will drive you nuts. Artwork will be, for the third time for the band, from the visionary SoloMacello. This is the sixth studio album for the band, and by far the best one yet. It's the most solid and complete album they have ever recorded.
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LP
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ITA 115LP
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$25.00
PREORDER
RELEASE DATE: 1/31/2020
Airchina is a weightless instrumental machine music, sometimes ghostly anthropomorphized with a hushed voice or a synthetic choir. Airchina is playful-melodious electronic music of and for today, which also takes its cue from global ambient and pop music from the end of the 1970s to the end of the 1980s. Airchina is a solo project by Nikolai Szymanski. LP 2 is his second release, his debut album LP 1 was released in summer 2018 on Italic.
Nikolai Szymanski (born 1986, Düsseldorf) is an artist living and working in Cologne and Düsseldorf, Germany. He uses a wide variety of media with a focus on film/video, performance and music --whereby all areas give each other impulses. In a narrower artistic framework (exhibition, gallery) he stages his works site-specifically and in installations. Performative interventions (for example at BER - Berlin Brandenburg Airport, Summer 2019) form the soft transition to his musical work. Together with Lucas Croon and Martin Sonnensberger Nikolai Szymanski is a founding member as well as singer of the band Stabil Elite. After concerts in China, Szymanski created the video work Airchina, the title he uses as a name for his current solo project; in his musical work Nikolai Szymanski is responsible for composition, lyrics, production, singing and performance, paying attention to a stringent appearance from cover design to stage appearance.
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LP
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LMS 5521284
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$26.50
PREORDER
RELEASE DATE: 1/31/2020
London Records present the first vinyl reissue of Happy Mondays' Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out), originally released in 1987. Released in April 1987, the Happy Mondays debut album was a perfect snapshot of a very different kind of pop culture coming from beyond the fringes. It would be an underground album but a game changer. Produced by Velvet Underground legend, John Cale, this was the accidental sound track for the endless housing estates sailing away from Manchester City center and into Salford-perfectly captured by this gang of misfits. Artwork lovingly replicated by original Manchester designers Central Station Design. Featured the singles "Tart Tart" and "24 Hour Party People". 180 gram vinyl; silk-screen printed PVC O-card; printed inner-sleeve; includes download code.
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LP
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LMS 5521286
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$26.50
PREORDER
RELEASE DATE: 1/31/2020
London Records present the first vinyl reissue of Happy Mondays' Bummed, originally released in 1988. Like many an influential album in rock history, the cultural significance of Happy Mondays' Bummed was apparent to precious few listeners upon its first release on November 5th, 1988. Within a decade or two, Bummed would be hailed as one of the best records of the '80s, often by the self-same publications that had slated it back in the day -- a harbinger of the seismic shift about to take place in British popular music, away from the squeaky-clean, corporately ordained pop-radio fodder which had increasingly dominated the charts since punk, and back towards the more aggressive, unruly, and experience-hungry urges which had always pulsed through rock n' roll. Artwork lovingly replicated by original Manchester designers Central Station Design. Featured the singles "Wrote For Luck" and "Lazyitis - One Armed Boxer". 180 gram vinyl; gatefold sleeve with embossing; printed inner-sleeve; includes download code.
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LP
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LMS 5521288
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$26.50
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RELEASE DATE: 1/31/2020
London Records present a reissue of Happy Mondays' Pills 'N' Thrills And Bellyaches, originally released in 1990. Pills 'N' Thrills And Bellyaches was Happy Mondays commercial peak, both a No. 4 victory (in the UK) and a benchmark album in history. That year the Mondays made a generation feel like the freaks were winning again, the dreamers and schemers hurtling in from the shadows to park themselves, like grin-faced goblins, in the daylight glare of the mainstream. Artwork lovingly replicated by original Manchester designers Central Station Design. Featured the singles "Step On", "Kinky Afro", and "Loose Fit". 180 gram vinyl; gatefold sleeve; printed inner-sleeve; includes download code.
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LP
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LMS 5521290
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$26.50
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RELEASE DATE: 1/31/2020
London Records present a reissue of Happy Mondays' ...Yes Please!, originally released in 1992. The last Happy Mondays album on Factory Records -- reaching no. 14 in the UK chart. Produced by Talking Heads' Tina Weymouth and Chris Frantz. Artwork lovingly replicated by original Manchester designers Central Station Design. Features the singles "Stinkin' Thinkin", "Sunshine & Love", and "Angel". 180 gram vinyl; printed inner-sleeve; includes download code.
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12"
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MPD 022EP
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$17.50
PREORDER
RELEASE DATE: 1/31/2020
Musique Pour La Danse invites you to rock your body and free your brain with the second volume of Break The Limits. Break The Limits are Bay B Kane and Mister E, two East London underground pioneers who released pivotal and visionary EPs between 1990 and 1991. Together, they produced some of the most innovative music of the era, a blueprint for the emerging warehouse/hardcore/breakbeat scene in the UK. In the same way 1977 was a crucial year for punk's explosion, 1990 was a madly creative and truly revolutionary year for dance music, the essence of which is captured in these tracks. Picture this: a low ceiling sweating red brick basement somewhere at Marshgate Lane, where multicolored lasers, turbo soundsystem. and wacky dancers in ecstatic rush. DJs like Fabio, Bukem, or Matthew B would spin an evil blend of early hardcore and trippy NY house, with live PA set by up and coming acts like The Prodigy, Unique 3, or Satin Storm. This was universal unity, complete mayhem, and total freedom taking a country by storm, with a mutant groove that later became the grooves of all the grooves. Nearly 30 years later, it's still fresh. Produced in Satin Storm's studio (another pioneer), these have shades of deep house, techno bleeps, and rough breakbeat blended in an intuitive and innovative way.
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12"
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MPD 023EP
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$17.50
PREORDER
RELEASE DATE: 1/31/2020
Musique Pour La Danse invites you to rock your body and free your brain with the third volume of Break The Limits. Break The Limits are Bay B Kane and Mister E, two East London underground pioneers who released pivotal and visionary EPs between 1990 and 1991. Together, they produced some of the most innovative music of the era, a blueprint for the emerging warehouse/hardcore/breakbeat scene in the UK. In the same way 1977 was a crucial year for punk's explosion, 1990 was a madly creative and truly revolutionary year for dance music, the essence of which is captured in these tracks. Picture this: a low ceiling sweating red brick basement somewhere at Marshgate Lane, where multicolored lasers, turbo soundsystem. and wacky dancers in ecstatic rush. DJs like Fabio, Bukem, or Matthew B would spin an evil blend of early hardcore and trippy NY house, with live PA set by up and coming acts like The Prodigy, Unique 3, or Satin Storm. This was universal unity, complete mayhem, and total freedom taking a country by storm, with a mutant groove that later became the grooves of all the grooves. Nearly 30 years later, it's still fresh. Produced in Satin Storm's studio (another pioneer), these have shades of deep house, techno bleeps, and rough breakbeat blended in an intuitive and innovative way.
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MR 403LP
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$25.00
PREORDER
RELEASE DATE: 1/31/2020
Munster Records present the first facsimile reissue of The Flipper's Discotheque, originally released in 1966. Don't let their elegant suits sported on the front cover confuse you: The Flippers were ambassadors of the British Invasion in their native Colombia, but the strength of garage music, surf instrumentals, and psychedelia quickly became their true hallmarks. They are, undoubtedly, one of the essential bands of Colombian rock, as also are The Speakers or Los Yetis. You can easily imagine The Flipper's reigning on the hippest stages of Colombia in the late '60s, performing very rhythmic songs full of fuzzy and reverb infected guitars and fueling the audience's desire to dance wildly. That's how things worked back then. In 1964, Arturo Astudillo and Carlos Martínez formed the student group The Thunderbirds in Bogotá. One year later, after the line-up was enlarged with Miguel Durier and Guillermo Acevedo, the group was renamed as The Flipper's after the American TV series Flipper. Medellín based label Codiscos signed them after publishing an EP with several versions of current hits and soon released their first album. "Impromptu Jazz a Go Go, the first song on Discotheque, their debut LP, already drops some leads about where the band's musical interests were in 1966, the year this album was published. The guitars quickly catch the listener with the characteristic dynamism of the dolphin that gave name to the group while they share the leadership of the song with an energetic and forceful drumming. It somehow anticipates other sensational instrumental cuts on the album such as "Dance to Go Go" or "Master Flipper" that give full meaning to the title of the LP. There is also some room for the cover versions on this album: the timeless "Winchester Cathedral" or The Yardbirds' top hit "Over Under Sideways Down" are translated into Spanish with greater or lesser fortune while classics such as "Route 66" retain their original lyrics and charming. The relationship with their record company would be extended to one more LP, Psicodelicias, while the style of the group was beginning to move towards more progressive sounds. In the mid-70s The Flipper's would dissolve temporarily to later continue for a short period of time in the early '80s.
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12"
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MUSAR 010EP
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$12.50
PREORDER
RELEASE DATE: 1/31/2020
Releasing his first ever vinyl release El Sunset on James Holden's, Border Community back in 2007, Chilean producer Ricardo Tobar has since been held in high regard by the seminal UK producer. Continuing to extend his already significant discography, he now returns to Musar for a third time with the After The Movie EP. Ricardo's EP forms a selection of cuts that have been held in his locker for quite some time. Uncovered by Musar label head, David on a podcast from way back, it seemed only natural that this unreleased music from Ricardo would find its home on the Amsterdam-Tel-Aviv label. Tobar on the release: "This EP is quite special to me because it reflects a long timeline in my work. The 'After The Movie' track had been in the vault for ages until David from Musar found it in an old podcast; it really takes me back to those first steps in recording music." Across his EP, Ricardo plays with varying textures and arrangements that in turn provide a cross-section of his sound that has expanded and developed over time. "After The Movie" presents the experimental ambience synonymous with his early works, whilst "Parques" brings an idyllic, cinematic feel with strictly crafted synth arrangements riding high, post-rock influences also show through. "Regain Your Power" represents a change of course, whilst also channeling a political message punctuated by social unrest taking place in Ricardo's home country, Chile. He abandons experimentalism in favor of tougher 4x4 elements, allowing his machines to run riot. "The mixture of ideas and feelings on this EP have a politically charged spirit, as electronic music always does. A few weeks after I finished 'Regain Your Power' the whole Chilean social explosion took place with the same ideals I had in mind when recording the track." Stepping up on the remix is a pair whose names are etched into the history of UK electronic music, Andy Turner and Ed Handley, aka Plaid. Reworking title track "After The Movie", they produce an emotive, soundscape complete with droning basslines and ex-terrestrial flourishes.
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NA 5178LP
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$26.00
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RELEASE DATE: 1/31/2020
"Now-Again Records presents limited edition deluxe reissues of the lauded black fire catalog in 2020. First up in the series, this previously unreleased live session recorded at the legendary Brooklyn venue The East in 1973. Magical, mystical, Afrocentric, progressive -- words that could be used to describe any number of musical compositions by Sun Ra or his cosmic brothers and sisters, from John to Alice Coltrane, early '70s projects on record labels like Detroit's Tribe or Houston's Lightin' or the interests of one Washington, DC native named Jimmy Gray that centered under one, perfect moniker: Black Fire. Gray spent nearly three decades pushing boundaries as a Black American promoter, distributor and, finally, record label owner. Together with Juju's leader James 'Plunky Nkabinde' Branch, Gray oversaw sixteen releases on Black Fire Records between 1975 and 1996. These are the definitive reissues of five of the label's key titles; all were lacquered -- most directly from master tape -- by legendary Los Angeles mastering engineer Bernie Grundman. With this set, Juju and Black Fire's story burns forth into its fifth decade, its message not tempered, its sound pure. It's cycle, once again, complete. Each release is packaged in a thick, tip-on sleeve and includes a deluxe booklet with extensive notes on the album, the Black Fire collective, and the musical and cultural revolution they created. Limited edition, one time pressing."
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NMG 3202011LP
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$25.00
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RELEASE DATE: 1/31/2020
LP version. Volume 1 of a two volume set. Blue vinyl.
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NMG 3202028CD
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$17.00
PREORDER
RELEASE DATE: 1/31/2020
"Live jazzy orchestral interpretations of the Jay Dee aka J Dilla produced Slum Village classic Fantastic Vol 2! The contributions of the late Detroit producer James DeWitt Yancey -- better known to the world as J Dilla -- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. All these elements would come together in a truly prodigious fashion in the early '00s, when Dilla and Slum Village would release their second studio album Fan-Tas-Tic Volume 2. The group had already made critically acclaimed waves with Volume 1, but few could have predicted at the time of its release that Dilla's production, which combined portions of alternative, gangsta, and soul hip-hop, meshed with T3 and Baatin's deft lyrical flows, would become such a far-reaching influence. Artists like D'Angelo and Erykah Badu have name-checked Fan-Tas-Tic Volume 2 as a key influences, while The Roots' drummer ?uestlove declared that they hands down '...birthed the neo-soul movement.' Enter the Abstract Orchestra. Helmed by composer and saxophonist Rob Mitchell, this 18-piece ensemble has become renowned for their distinct sound, which reinterprets some of the most famous hip-hop productions of all time (right on down to the sample material) into a unique blend of big band jazz and live hip-hop. The group has toured alongside the likes of John Legend, Amy Winehouse, and Adele among others, and have provided live backup for Mos Def, and many more. They previously have released orchestral versions of revered hip-hop record Madvillian and a tribute to Dilla to critical acclaim as well. On this, the 20th anniversary of Fan-Tas-Tic Volume 2's release, the Abstract Orchestra are proud to pay tribute to this highly innovative hip-hop classic. Across two volumes of vinyl and a 2-CD set of studio recordings, the big band applies their own jazzy spin to Dilla's classic productions, with occasional assistance from the surviving members of Slum Village themselves. The end result is Fantastic 2020, a hybrid blend of smooth, funky brass rhythms with boom-bap sensibilities that is just the kind of tribute that an often unsung, but highly influential group like Slum Village deserves, and is a more than welcome addition to any Dilla completist's library."
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LP
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NMG 3202110LP
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$25.00
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RELEASE DATE: 1/31/2020
LP version. Volume 2 of a two volume set. Red vinyl.
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7"
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ON 205EP
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$12.00
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RELEASE DATE: 1/31/2020
Originally released in 1987 on Australian label Big Home Productions both tracks were later re-released in 1990 on Sarah Records together with the "Goes So Slow" single as a five-track, 7" EP titled Nothing Ever Happens. This is the first time that the single has been released in the UK in its original format. Even As We Speak is an indie band from Sydney, Australia. Formed in the mid-1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass), Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals). After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band's Goes So Slow Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records. The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993. Color vinyl; includes postcard and poster; Edition of 800.
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7"
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ON 206EP
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$12.00
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RELEASE DATE: 1/31/2020
First appearance on 7" for The Vaselines' classic debut single that was originally released on 53rd & 3rd Records in 1987. Two of the three tracks that were on the 12" are included in this version. Color vinyl ; includes postcard and poster.
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LP
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PINCHE 005LP
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$25.00
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RELEASE DATE: 1/31/2020
A collection of rare and wild '60s Chilean rock n' roll. Time to celebrate! Here's a new installment of the Wild series, focused on wild, untamed Latin American rock n' roll from the '60s. This time Pinche Discos takes you to the beautiful land of Chile for a rollercoaster of wild sounds and smashing and obscure hits. In Wild Chile! you'll find, of course, wild rock n' roll but also crazed out twist, soul stompers, and a few fiery Instrumentals to boot. If you know the previous two volumes of this series you know what to expect: a record perfectly designed to make your next party explode, pure dynamite! Features Willy Monti & Los Tiburones, Los Atomos, Pepe Pato & Los Stereos, Los Primos, The Blue Splendor, Alan Y Sus Bates, Los Harmonic's, Los Caporales, Los Stereos, Flash Galindez, Los Beat 4, The Ramblers, Los Minimas, and Los Diablos Azules.
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12"
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SA10YEARSEP
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$12.50
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RELEASE DATE: 1/31/2020
Label head Lucy, nom de techno of Luca Mortellaro, revisits four pivotal tracks from his label's peerless catalog. In their original form, these tracks from Donato Dozzy, Caterina Barbieri, Lucy & Klock, and Xhin each represent significant and deeply personal moments for Mortellaro in Stroboscopic Artefacts' history. The release of Donato Dozzy's "Sotto Ma Sotto" in 2014 was in retrospect the moment at which Mortellaro's curatorial vision broadened to include artists from outside of the immediate early collective of Lucy, Xhin, Dadub, et al. Dozzy's hedonistic yet sharp-eyed "Sotto Ma Sotto" is recast by Mortellaro as a twilit techno roller, as the original's fevered tempo is reduced to a sinister creep. In remixing Caterina Barbieri, another beloved Italian artist, Mortellaro highlights the breaking of the barrier between experimental and club music that Stroboscopic Artefacts has always sought. His remix of "Virgo Rebellion", which was released on the Flowers From The Ashes (STROBO 009CD/006LP, 2018) compilation of contemporary Italian electronic music, retains the adventurous spirit of Barbieri's gorgeous synth-driven original but frames it in a dramatic new dance floor context. The choice of "War Lullaby" is both a reflection on Mortellaro's friendship and creative partnership with Ben Klock, and the closing of a chapter: the period in which the label's focus moved past what had come to be perceived by the outside world as the sound of Berlin techno. The original might be considered a Stroboscopic Artefacts anthem, a track of such scale a remix could be risky. But Lucy responds to the project by matching the intensity of the original while subtly redirecting its synthetic expressions. It would have been almost inconceivable to create a project such as this and not include Xhin. The visionary Singaporean was the first artist signed to the label, and Mortellaro doesn't pass up the chance to journey back to 2009 and the label's second release, the EP that gained it an international audience. You can sense the energy he draws from Xhin's original, as he weaves a deadly synth line through the original's laser-focused groove.
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2LP
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STAUB 152LP
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$25.50
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RELEASE DATE: 1/31/2020
The Limiñanas have been international stars since 2010. A few years earlier, The Hushpuppies were in the spotlight. Two groups from North Catalunya who have written some of the most beautiful pages of French rock thanks to their garage and neo-sixties style. Two groups born from the flourishing sixties style punk and mod scene of the 1990s in Perpignan. Back from the Canigó explores that decade, which saw the emergence of more than twenty groups from different scenes that were to fuse together in the end. Through more than thirty tracks, many of which are released here for the first time, this album brings to light the pioneering work of Les Gardiens du Canigou and of The Ugly Things, as well as eleven other groups who make worthy heirs to the former: The Beach Bitches, Uguet 68, The Feedback, Les Buissons, The Likyds, The Lazy Sundays, The Vox Men, The Lightning Circus Band And The Boom Boom Beat, Human Potatoes, The Rippers, Psiquàtric Xaïs. From savage garage revival to sixties punk, from mid-sixties freakbeat to more psychedelic sounds, Back from the Canigó amplifies the echoes of a town turned into the French capital of these underground genres. These are the beginnings of a still active garage scene that, a few years later, would see the emergence of groups such as Les Bellas, The Sonic Chicken 4, Gaz Gaz, Les Fatals, Les Go-Go Players, Jack Of Heart, Hair And The Iotas... But that's another story, perhaps to be told on Volume 2. In the meantime, this is the '90s at the foothills of Mount Canigó.
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LP
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TDP 54012LP
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$19.50
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RELEASE DATE: 1/31/2020
Trading Places present a reissue of Introducing The Beau Brummels, originally released in 1965. Despite borrowing the name of a historic English dandy and drawing from the sound of The Beatles, influential beat group The Beau Brummels was formed in San Francisco in 1964, when Italian-American singer Sal Valentino needed a backing band for a nightclub residency; Sal brought childhood friend Ron Elliott on board as guitarist and chief songwriter, who drafted bassist Ron Meagher, drummer John Petersen, and rhythm guitarist Declan Mulligan. Signing to the newly-formed Autumn Records through their manager's media connections, their early recording sessions, produced by future funk hero Sly Stone, yielded the monster hit "Laugh Laugh", which peaked at number 15, despite being issued by a small independent; it is widely cited as a forerunner to the San Francisco Sound that emerged later in the decade. Follow-up hit "Just A Little" soon cracked the top-ten, both tracks helping debut album Introducing to reach the top 25 on Billboard's album charts. Licensed by HHO, UK.
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LP
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TDP 54013LP
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$19.50
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RELEASE DATE: 1/31/2020
Trading Places present a reissue of Bridget St. John's Ask Me No Questions, originally released in 1969. Blessed with a distinctive voice largely defined by a rich, cello-like timbre, the English singer and guitarist Bridget St. John was brought to the attention of the adventurous guitarist John Martyn by fellow singer Robin Frederick and after being introduced to him by Martyn's poet friend, Pete Roch, was championed by BBC Radio disc jockey John Peel, who formed the Dandelion label in 1969 (with Elektra record-plugger Clive Selwood) specifically to issue St. John's music. Recorded in a brief session that lasted for some nine or ten hours, debut album Ask Me No Questions features Martyn on second guitar on opener "To Be Without A Hitch" and the equally chilling "Curl Your Toes", as well as the haunting title track, while future Fairport Convention and Soft Machine member Ric Sanders appears on "Lizard Tongue Boy" and "Many Happy Returns". Licensed by Cherry Red.
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LP
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TDP 54014LP
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$19.50
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RELEASE DATE: 1/31/2020
Trading Places present a reissue of Emerald Web's Sound Trek, originally released in 1980. Pioneering space music duo Emerald Web, comprised of Bob Stohl and soulmate Kat Epple, made some of the most ethereal, divine, and healing sounds between 1979 and 1990. Crafting their debut album in a haunted mansion in northwest Connecticut, their second disc was created in a small log cabin. A subsequent move to the San Francisco Bay Area brought an extended stay at an Indonesian martial arts ashram, which led to the Valley of the Birds, a remote avian haven in which the duo produced Sound Trek, an incredible space rock long-player drawing on their immersion in fantasy realms, sci-fi, martial arts, and UFOs. Created mostly with monophonic synths and an Oberheim DS-2 sequencer, it also features Shakahachi flutes, electronic flutes, and more standard acoustic instruments. Licensed by Kat Epple.
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LP
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TDP 54015LP
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$19.50
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RELEASE DATE: 1/31/2020
Trading Places present a reissue of Implosion's self-titled album, originally released in 1988. Outstanding Italian outfit that combines prog, space rock, psych, and electronic music in an album that could have come from the early 1970s. Long spacey, dreamy, and mostly instrumental tracks made of killer, acid-leaking electronics. Released in 500 copies in 1988, the monster rare LP was never reissued in any format for more than 30 years and Discogs has it in the three-digit range. This long-awaited reissue was digitally remixed and remastered in 2019 from the master analog tapes, played back through the original 4-track recording deck. Inner sleeve features a 2019 foreword by Implosion's guitarist, as well as lyrics to three songs and the bio sheet which originally graced the first 20 copies only. Licensed by Gianni Rosati.
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2LP
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TEG 78504LP
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$31.00
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RELEASE DATE: 1/31/2020
2020 repress. "There are very few albums across any genre that stand the test of time better than 93 'Til Infinity, the classic debut record from the Hieroglyphics crew's very own Souls of Mischief. In an era where gangsta rap and G-Funk dominated the West Coast rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre's and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples."
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LP
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TTP 102LP
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$25.00
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RELEASE DATE: 1/31/2020
Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Tides: Music for the Meditation and Yoga, was released in January 2019. Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation. It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year. Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, "I got so distracted and enamored with the process of making sounds with [the Buchla's potential] that I abandoned the next Ever Isles album." When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, "Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it." Recorded in 2013, Tides is a glimpse into the early phase of what has become Kaitlyn Aurelia Smith's signature approach to electronic music. Composed and played on a Buchla Music Easel -- the modular synthesizer that gives Smith's music its organic feel -- this collection of instrumentals is at once uplifting, transportive, and meditational.
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LP
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TTP 104LP
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$19.50
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RELEASE DATE: 1/31/2020
Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Tides: Music for the Meditation and Yoga (TTP 102LP), was released in January 2019. Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation. It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year. Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, "I got so distracted and enamored with the process of making sounds with [the Buchla's potential] that I abandoned the next Ever Isles album." When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, "Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it." Recorded in 2009, Ever Isles' Cocoon is an experimental folk album made by Kaitlyn Aurelia Smith and Jeremy Harris on Orcas Island in an improvised recording studio built from bed mattresses. Smith and Harris, longtime friends, first met in 2004 while attending Berklee College of Music. Cocoon is the only remaining document of the Ever Isles project and offers a unique glimpse at the early work of Kaitlyn Aurelia Smith -- an era predating her discovery of synthesis when she was still playing classical guitar. Jeremy Harris, a multi-instrumentalist and neo-classical composer, engineered and co-produced the record with Smith. In 2016, Harris released Ages via Gnome Life Records.
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7"
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VEF 075EP
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$9.00
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RELEASE DATE: 1/31/2020
Akin & The Afrobeat Brothers is led by Nigerian musician Samuel Akinola Ogunmola and band members are Boris Abreu, Antonio Izquierdo, Alejandro Álvarez, Luís García, and Luís Fuente, who give body to this project where afrobeat serves as a weapon to denounce the problems that suffers the environment or social differences. "Boomerang" and "Help Monkeys" are two themes that show the original spirit of Afrobeat, directly influenced by Fela Kuti but adapted to the social issues of this moment.
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LP
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WRWTFWW 037LP
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$26.50
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RELEASE DATE: 1/31/2020
WRWTFWW Records announce the first ever vinyl release of Tom Raybould's award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010s, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film. Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to its tender ending, Tom Raybould's masterwork ingenuously blends ambient, electronic, neoclassical, and synth wave to recontextualize and upgrade the classic '80s sci-fi movie score template, holding its own against mammoth soundtracks like Blade Runner (1982) or The Terminator (1984). Truly. Cold with a touch of humanity like the perfect machine, Tom Raybould's movie score won the BAFTA Cymru award for Best Original Music in 2013. LP housed in a glow-in-the-dark sleeve. "Tom Raybould's Music For The Machine Is Amazing" --Bloody Disgusting
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2LP
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ACRE 007LP
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$20.00
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RELEASE DATE: 2/7/2020
Commodo, one of the UK underground's best-regarded producers, returns with How What Time, following his impressive 2015 collaborative double-12" with Kahn and Gantz (Deep Medi Musik). An artist with deep roots in bass music's history and present, Commodo experiments with a variety of underground elements, using components of hip hop, grime, dubstep, and more. On his debut album he pushes his sound further while managing to uphold the basic formula of space and bass. Continuing to add a thoughtful touch to the deeper ends of UK bass music, How What Time sees Commodo create deeply meditative jams that harness a raw energy and sub-bass power. Made in several different places in the UK, Turkey, and Germany, the album sees Commodo fuse the UK's raw and vibrant grime and hip hop scene, as heard in the fierce and murky soundscapes of "Itchin" with an unmistakable vocal from Trim. The album's standout track "Set It Straight" features Croydon's fast-rising rapper and beatmaker Rocks FOE, and like Commodo's 2014 Jme-featuring hit "Shift," is an instant underground anthem. Commodo blends Madlib-style hip hop beats with the fierce spirit of grime, while the addition of Rocks FOE's straight-talking charisma and energetic flow transitions "Set It Straight" into an up-tempo head-banger. Commodo's inherently unique and accomplished production style has earned him recognition right from the outset of his ascendancy, garnering attention from a host of key figures within the electronic community. While making How What Time he sought to "strike a balance between a sample-heavy, rap style sound palette and the energy of the 140bpm based music." From the tough bass weight of his dancefloor-leaning productions to the tonally rich and immersive qualities of the album's more intricate tracks, How What Time maintains a resounding freshness throughout.
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2LP
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ACRE 009LP
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$22.00
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RELEASE DATE: 2/7/2020
2017 release. One of Italy's brightest new talents, Clap! Clap! (aka Cristiano Crisci) returns with his second album for Black Acre, following his colorful breakthrough debut LP, Tayi Bebba (ACRE 006LP, 2014). Bringing together disparate inspirations and styles onto the dancefloor of his mind, A Thousand Skies sees Clap! Clap! create a high energy and inventive kaleidoscopic fusion of sound - drawing on the traditional global rhythms of the old world, hip hop, footwork, UK bass and house. Following Tayi Bebba, which soundtracked the tour of an imaginary island, A Thousand Skies is a mix of Crisci's career to date, combining samples and live instrumentation from Clap! Clap! and collaborators such as South African folk singer Bongeziwe Mabandla, John Wizards, HDADD, and OY. As with his debut, the album is anchored by a story - this time of a young girl's journey through the stars - which completes the work. Clap! Clap!'s unique blend of global dance and timeless sounds draws from nature, traditional music, field recordings and the electronic savvy of modern centers like Chicago and London. At its core is the inspiration of everyday life, what Crisci calls "the search for new flavors." The now internationally acclaimed producer and performer started his career age 13 in the mid-90s as a rapper, before picking up the saxophone and performing both jazz standards and jazz/punk fusion with his band Trio Cane. Now, as Clap! Clap!, he's taking his energetic live shows across Europe and Japan. Following the release of his debut album in 2013, he has found a fan in Paul Simon who told Rolling Stone the LP is "a masterpiece. He makes music sound new and old at the same time." This led to Crisci to collaborate on the production for 2016's #1 Paul Simon album Stranger To Stranger. With a passion for history and the sounds that surround us, Clap! Clap! is a unique electronic artist capable of both channeling the energy of the moment and the intricacies of creating a music that can soundtrack the dynamics of life. Includes four-page printed "Agata" fable booklet.
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LP
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ACRE 012LP
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$18.00
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RELEASE DATE: 2/7/2020
2018 release. A rising young talent, 23-year-old Leicester-based producer and artist Scott Xylo is releases his debut album Find Us When You Get There on Black Acre, following on from a string of single releases in 2017 that were championed by tastemakers like Gilles Peterson, Kojey Radical, and Stones Throw's MNDSGN. His previous single "Hold On", which was spotlighted on BBC 6 Music's Mary Ann Hobbs' show, caught the attention of UK tastemaker label Black Acre and led to his signing. Features Jon Glitches, Catherine Sera, Afronaught Zu, and Marcus Joseph.
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