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forthcoming releases available for pre-order
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How preorders work: FAQ
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CD
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CMR 003CD
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$12.50
PREORDER
RELEASE DATE: 5/25/2018
"God Is More Than Love Can Ever Be is something of a rarity in the Sun Ra catalog -- a cohesive album with none of the stylistic eclecticism and musical chair shifting many of the artist's self-released LPs were known for. Recorded at Variety Studios one day in 1979, the album's five tracks comprise a solid jazz trio set. God Is More Than Love... is the only complete piano-bass-drums studio session in the massive Sun Ra catalog. The album offers an intense set of cosmic vagabond moods, reflecting the telepathy that is the essence of small combo jazz. Other than an overdubbed second piano on 'Days Of Happiness' the five works were spontaneously generated and forever fixed: none of the titles recur in the encyclopedic Ra discography. Originally released on Saturn in several small press runs under the alternate title 'Days Of Happiness' between 1979 and 1981, fully realized artwork was never established and the album never got much circulation, thus it has remained a largely overlooked session in the Ra omniverse. Nearly 40 years later, the record is long overdue for acclaim on its second time around. Newly remastered edition on CD and LP (with tip-on style jackets/ RTI vinyl)"
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LP
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CMR 003LP
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$20.00
PREORDER
RELEASE DATE: 5/25/2018
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7"
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GET 760EP
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$11.00
PREORDER
RELEASE DATE: 5/25/2018
"There's a reason why so many of house music's early releases have endured over the decades. The best of them have a quality that defies logic. Early house records like Heard's own 'Washing Machine,' or the 'No Way Back' by Adonis, still have the power to stun listeners and drive clubs wild. They sound alien and beautiful, simultaneously ingrained within us and so unlike everything that followed. And few sound as beautiful, or as alien, as 'Can You Feel It' By 1986, Heard -- who was born and bred in Chicago and been playing in bands as a drummer -- had already proved to the world that he was a master of poignant, enthralling house. The previous year's elegant 'Mystery of Love,' originally released on Alleviated Records, had featured an insistent ascending bassline repeating under a plaintive, swooning analog synth, with a gentle, conga-led rhythm setting the pace. It was soon rerecorded in a slightly more fleshed-out style, this time featuring frequent collaborator Robert Owens on vocals -- 'There's a moment in our lives when we all must try the mystery of love' -- and rereleased on D.J. International. The song helped to set the Larry Heard template: A hollowed-out bass underlies percolating percussion, while a deceptively spare instrumentation lays out a wistful, yearning melody, all blanketed with ethereal ambience. But 'Can You Feel It,' released by Trax Records the next year on an EP that also boasts the equally dreamy 'Washing Machine,' took that mold and refined it into exquisite, crystalline form. As with most house of the era -- the components of 'Can You Feel It' are few. There's a throbbing kick, tuned so loosely as to make it feel like the head's in danger of falling from the drum; cascading hi-hats, shivering and shimmering; a three-chord synth pattern that flirts with melancholy; occasional distant pads and crisp countermelody; and most of all, that angular, acidic low-end. With this track, along with 'Washing Machine,' Heard had perfected his signature bass sound: an alien signal, caving in upon itself, that's simultaneously soothing and a little bit disconcerting. In 1986, it seemed like a beacon from the farthest reaches of the galaxy; even today, it's one of the most identifiable tones in electronic music. Heard himself has claimed to have little distinct memory of making 'Can You Feel It,' saying it was merely the result of fooling around with some newly acquired gear. But apparently, 'Can You Feel It' was first laid down on tape in 1984; the same session yielded a much slower, 110-BPM prototype of 'Mystery of Love.' Roland's Juno-60 polyphonic synthesizer provided the bass and melody, while the drums were courtesy of a TR-909. A friend came up with the song's title; Heard has admitted in interviews that he's not adept at naming his own work. The track ended up in the hands of the influential Chicago DJs of the era -- Frankie Knuckles, Ron Hardy, et al -- and eventually made its way to Trax Records' Vince Lawrence. A few years later, alternate versions of 'Can You Feel It' surfaced; many of these with Vocals Samples that detracted from something that was already graceful and full of feeling. And really, how could anything improve upon the transcendent '86 Trax release, a song that feels like a blissful caress?"
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7"
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GET 761EP
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$11.00
PREORDER
RELEASE DATE: 5/25/2018
"By the time the Jungle Brothers rapped about it in 1988, house music had been bumping in NYC Clubs for years. Even though the genre would go on to become a global phenomenon, house music had humble beginnings in predominantly gay and black clubs in Chicago. Musically, house music was inspired by the eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at Clubs like 'The Warehouse' and 'Muzik Box'. With a growing club scene, labels like Trax Records and DJ International played a major role in the development of the genre. Founded in 1984, Trax was an important outlet for house music in its early days, releasing many classics including 'No Way Back' by Adonis, Larry Heard's 'Can You Feel It,' and the first so-called house anthem in 1986, 'Move Your Body' by Marshall Jefferson. This latter tune gave a massive boost to house music, extending recognition of the genre outside of Chicago. Adonis recorded many innovative and influential dance tracks. Born and raised on the West Side of Chicago, Adonis was introduced to music at a young age. He played bass guitar with several jazz and funk bands and was eventually introduced to House music by Gary B. After listening to Jesse Saunders' 'On and On'; Adonis felt the drive to make better-produced music than what he had heard and began recording. Despite his formal training and lack of clubbing experience, Adonis made waves on the dancefloor when he recorded several of the best Chicago house singles of the 1980s, including 'No Way Back,' 'Do It Properly' and 'We're Rockin' Down the House.' He was 19 years old when he made the dystopian classic 'No Way Back,' one of Chicago house music's most iconic tracks. 'No Way Back' was a smash hit for the Trax label; according to some estimates, the single sold over 100,000 copies. The lyrics -- 'Release my soul / I've lost control / Too far gone / Ain't no way back' -- seemed to perfectly encapsulate the feeling of being lost in music with no way out. Adonis' cold, minimalist vocal delivery -- no ornamentation, or obvious emotion -- made 'No Way Back' sound effortlessly cool, and utterly terrifying. The stripped-down track, devoid of extraneous flourishes, still sounds ruthlessly modern."
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12"
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NON 047EP
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$15.50
PREORDER
RELEASE DATE: 5/25/2018
After 30 years, Nonplace is now rereleasing the A side of the much sought-after maxi single "Elephant's Easy Moonwalk Through The Night" by Manos Tsangaris together with a new B side, created especially for this release in 2017. Manos Tsangaris is also a member of Drums Off Chaos. Manos Tsangaris is a traveler and a radical. That is why his tracks are like journeys, flights, or escapes. They dazzle, they drive ahead, they drift away while staying rooted to their foundations. The same applies to Tsangaris's experimental internationally acclaimed musical theater works and installations.
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CD
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NW 80803CD
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$15.00
PREORDER
RELEASE DATE: 5/25/2018
"Asked whether he would describe his music as 'Sound for the sake of sound,' James Tenney (1934?2006) replied, 'It's sound for the sake of perceptual insight -- some kind of perceptual revelation.' This release aptly demonstrates Tenney's deep exploratory fascination with the nature and potentialities of aural perception. His attraction to these topics was simultaneously intellectual and sensuous, and its musical products at once invite both sustained reflection and the most immediate of corporeal responses. A number of his works feature pitch collections that progressively approach or diverge from the structure of the harmonic series, or that gradually move between its 'harmonically complex' or 'dissonant' upper reaches and its 'harmonically simple' or 'consonant' lower regions. A paradigmatic example is provided by Harmonium #1 (1976). For 12 String (rising) (1971) represents an arrangement for strings of Tenney's classic electroacoustic composition For Ann (rising) (1969), which predated his interest in harmony. It nonetheless shares with much of his subsequent music a ruthless simplification of form and structure that eschews narrative drama in order to highlight the subjective processes and perceptions of the listener. The first movement of Two Koans and a Canon (1982) is entitled "First Koan (a gentler Beast)" and constitutes a variation upon Tenney's earlier Beast (1971) for solo double bass. It is a study in acoustical beating, an alluring rhythmic pulsation audible between tones whose pitches are sufficiently close to each other. The "Second Koan" in turn recalls Tenney's Koan (1971) for solo violin. It exhibits another of his radically reduced formal designs: a steady cross-string tremolo that gradually migrates upwards in register across the strings of the instrument. The brief final "Canon" is the most structurally complex of the movements. Alone of the three it employs a live tape-delay system. From 1975?84, Tenney produced a number of other compositions calling for the use of a tape-delay system in live performance, which he once referred to as 'the poor man's orchestra' for its ability to produce lush textures from few instruments. The most texturally sophisticated of these pieces is Voice(s) (1984), which requires the use of four separate tape machines. The final track, Blues for Annie (1975), offers a glimpse into the breadth of Tenney's personal musical interests. His appreciation for the blues is expressed forthrightly in a literal transcription and arrangement of Jaybird Coleman's 1927 recording of 'No More Good Water 'Cause the Pond is Dry.' "
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2CD/BOOK
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PF 011SE-CD
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$42.00
PREORDER
RELEASE DATE: 5/25/2018
"Wire's first three albums need no introduction. They are the three classic albums on which Wire's reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book -- the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics. The original album is presented on its own CD, accompanied by discs that feature relevant extra tracks: singles; B-sides; demos; and many previously unreleased songs. All audio has been painstakingly remastered (or, in some cases, mastered for the first time). This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire's official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery -- in colour and black and white -- is featured throughout the books. Most of the photographs have not been seen for 40 years -- and many have never been published anywhere before. Please note: although the three original albums remain available through digital stores and streaming services, the extra tracks from the special editions will not be released digitally. Usually contextualized against a backdrop of two years of the growing cultural importance of punk rock -- Wire's debut Pink Flag, released in December 1977 on EMI's progressive label Harvest was in fact was something 'other.' To the keen cultural commentator, the timing and label of its release will register two essential facts about it. Firstly, too late (a year after the Pistol's debut release) to be part of UK punk's first flush and secondly that the band were signaling something beyond punk by their choice of label. Further investigation would re- veal twenty-one tracks, some of them clocking in at well under a minute and covering a range of tempi well beyond the buzzsaw rockabilly that had become, even by the second half of 1977, punk's staple."
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3CD/BOOK
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PF 012SE-CD
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$42.00
PREORDER
RELEASE DATE: 5/25/2018
"Wire's first three albums need no introduction. They are the three classic albums on which Wire's reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book -- the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics. The original album is presented on its own CD, accompanied by discs that feature relevant extra tracks: singles; B-sides; demos; and many previously unreleased songs. All audio has been painstakingly remastered (or, in some cases, mastered for the first time). This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire's official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery -- in colour and black and white -- is featured throughout the books. Most of the photographs have not been seen for 40 years -- and many have never been published anywhere before. Please note: although the three original albums remain available through digital stores and streaming services, the extra tracks from the special editions will not be released digitally. 1978's Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire's favourite '70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from its antecedents. Chairs Missing was at once more stark and more lush than its predecessor and has exerted its own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic."
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3CD/BOOK
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PF 013SE-CD
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$42.00
PREORDER
RELEASE DATE: 5/25/2018
"Wire's first three albums need no introduction. They are the three classic albums on which Wire's reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. These are the definitive re-releases. Each album is presented as an 80-page hardback book -- the size of a 7-inch, but obviously much thicker. After a special introduction by Jon Savage, Graham Duff provides insight into each track. These texts include recording details, brand-new interviews with band members, and lyrics. The original album is presented on its own CD, accompanied by discs that feature relevant extra tracks: singles; B-sides; demos; and many previously unreleased songs. All audio has been painstakingly remastered (or, in some cases, mastered for the first time). This stunning set of presentations also includes a range of images from the archive of Annette Green. Wire's official photographer during this period, Green also shot the covers for Pink Flag and Chairs Missing. Promotional and informal imagery -- in colour and black and white -- is featured throughout the books. Most of the photographs have not been seen for 40 years -- and many have never been published anywhere before. Please note: although the three original albums remain available through digital stores and streaming services, the extra tracks from the special editions will not be released digitally. 1979's 154 represented the final tableau in Wire's Harvest released '70s tripych and was the first Wire album to be released to a universal set of 5 star reviews from the British Rock Weeklies thus it represented the point when the British 'pop culture establishment' publicly recognised Wire's primacy. '154 makes 95 percent of the competition look feeble' wrote Nick Kent in the NME; 'Wire are achieving a lot of things other -- and more recognised -- names have been striving for' wrote Chris Westwood in Record Mirror (a paper that had slagged off Pink Flag); 'The album is a musical Tour de Force' wrote Jon Savage in Melody Maker. Many said it was the album that Bowie & Eno had failed to make with Lodger (as hinted in the RM review), it was on John Lennon's playlist. Without a doubt, even if record sales did not bear it out, Wire had 'arrived.'"
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LP
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SV 134LP
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$29.00
PREORDER
RELEASE DATE: 5/25/2018
"On his fourth album, Clic, Franco Battiato moves further out -- into realms of pure and elemental approaches to sound -- to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only 'No U Turn' bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions. Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, 'Ethika Fon Ethica' -- a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950's). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre. Superior Viaduct presents the first-time domestic release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978."
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12"
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12BACH 009EP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
Following the U.S. Army's liberation of Munich in 1945, the world's first Amerikahaus was inaugurated there with a library, a record and lm department, and more . . . In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States -- 1,630 long-playing vinyl records from the library were left behind. Michaela Melián looked through this forgotten collection. Inspired by Don Gillis's 1940 tone poem "Portrait of a Frontier Town", Michaela Melián's Music from a Frontier Town is fueled by the diverse sonic material of this extensive record collection.
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CD
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2MR 033CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
That Which Is Not Said is an album about learning to accept oneself within and to accept the reality of all that comes from without. It's an eponymous abstract exposition on navigating the realms of intimacy that the living world inevitably unveils and their equally inevitable fallout, the panic of abandonment and the loss of desire, and dragging oneself back up the hill once the lonely valleys lose their allure. Written and recorded over the course of two years in TWINS' home studio in Atlanta with various synths, samplers, drum machines, and his very own flesh-and-muscle vocals, That Which Is Not Said is the result of countless studio sessions and experiments that were refined and distilled into the songs presented here, rigorously worked out through live performances and repeated critical overhaul. The material was all conceived more or less the same way: a mood or feeling would be channeled through whatever machines were plugged in at the time and eventually a foundation would be developed upon which a loose structure would be improvised. Experimenting and throwing around vocals came next, making up phrases and lyrics on the fly until something clicked and a pathway cleared through the fog and mist. TWINS (the acronym from which the album derives its title, if one's curious about the order of origin) is the mutant machine-pop project of Atlanta producer, label operator, and all-around aesthete-visionary Matt Weiner. Having spent the better part of a decade reveling in a moody murk that intersects seductive synth-pop with Featureless Ghost and grotesque industrial-dance grooves in his own right as TWINS, Weiner has more than proved his sincerely sinister and auspiciously artful finesse of synth-based music. Operating from his home studio, arrayed with various tools of the trade, Weiner tempers his subtle scourges of sound with an unending sense of bold exploration, processing tracks of pulse-heavy aural catharsis. When performing these songs live, he brings an array of hardware to back up his flooring vocal performances, using his entire being to work the audience into a frenzied trance. When not making music as TWINS, Weiner also runs the CGI Records label and co-runs the DKA label. Weiner also performs in the duo Pyramid Club with Chris Daresta and produces music in the studio with Stefan Ringer as SM42 and with the esteemed CH Rom as Wo.
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LP
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2MR 033LP
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$25.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. That Which Is Not Said is an album about learning to accept oneself within and to accept the reality of all that comes from without. It's an eponymous abstract exposition on navigating the realms of intimacy that the living world inevitably unveils and their equally inevitable fallout, the panic of abandonment and the loss of desire, and dragging oneself back up the hill once the lonely valleys lose their allure. Written and recorded over the course of two years in TWINS' home studio in Atlanta with various synths, samplers, drum machines, and his very own flesh-and-muscle vocals, That Which Is Not Said is the result of countless studio sessions and experiments that were refined and distilled into the songs presented here, rigorously worked out through live performances and repeated critical overhaul. The material was all conceived more or less the same way: a mood or feeling would be channeled through whatever machines were plugged in at the time and eventually a foundation would be developed upon which a loose structure would be improvised. Experimenting and throwing around vocals came next, making up phrases and lyrics on the fly until something clicked and a pathway cleared through the fog and mist. TWINS (the acronym from which the album derives its title, if one's curious about the order of origin) is the mutant machine-pop project of Atlanta producer, label operator, and all-around aesthete-visionary Matt Weiner. Having spent the better part of a decade reveling in a moody murk that intersects seductive synth-pop with Featureless Ghost and grotesque industrial-dance grooves in his own right as TWINS, Weiner has more than proved his sincerely sinister and auspiciously artful finesse of synth-based music. Operating from his home studio, arrayed with various tools of the trade, Weiner tempers his subtle scourges of sound with an unending sense of bold exploration, processing tracks of pulse-heavy aural catharsis. When performing these songs live, he brings an array of hardware to back up his flooring vocal performances, using his entire being to work the audience into a frenzied trance. When not making music as TWINS, Weiner also runs the CGI Records label and co-runs the DKA label. Weiner also performs in the duo Pyramid Club with Chris Daresta and produces music in the studio with Stefan Ringer as SM42 and with the esteemed CH Rom as Wo.
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CD
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AACD 086CD
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008 (AACD 063CD/AALP 063LP), the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo's pile-driving opener, it's clear that African Scream Contest 2 is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces' "Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation. The screaming does not stop there, in fact it's only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills -- his training with the KGB -- highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the '60s and '70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves. CD version comes with a 44-page booklet.
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2LP
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AALP 086LP
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$31.00
PREORDER
RELEASE DATE: 6/1/2018
Double LP version. 140 gram vinyl; Gatefold sleeve; Includes 24-page, LP-size booklet. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008 (AACD 063CD/AALP 063LP), the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo's pile-driving opener, it's clear that African Scream Contest 2 is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces' "Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation. The screaming does not stop there, in fact it's only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills -- his training with the KGB -- highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the '60s and '70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves.
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LP
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ACKER 006LP
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$19.50
PREORDER
RELEASE DATE: 6/1/2018
LP version. It's been around three years since JPattersson opened up a whole new horizon of formerly unheard possibilities between the worlds of dub and techno with PROGaDUB (ACKER 005CD/004LP, 2015). A lot has been happening ever since, and that's very noticeable on his second album, Folks & Fanfare. It still has all the signature elements of JPattersson: There's his dreamy, virtuous trumpet play and his witty vocals, there's his dubby delays and heavyweight beats which often line up in a downbeat rhythm. However, besides his fanfares there's now also many folks, many musical friends who contribute to the vibe of this album. There's a track with Berlin MC Longfingah, as well as a stylistically wide range of remixes that reflect the symbiotic cooperation and mutual inspiration of these last years. Also features Superpendejos and Timboletti.
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CD
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ACKER 008CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
It's been around three years since JPattersson opened up a whole new horizon of formerly unheard possibilities between the worlds of dub and techno with PROGaDUB (ACKER 005CD/004LP, 2015). A lot has been happening ever since, and that's very noticeable on his second album, Folks & Fanfare. It still has all the signature elements of JPattersson: There's his dreamy, virtuous trumpet play and his witty vocals, there's his dubby delays and heavyweight beats which often line up in a downbeat rhythm. However, besides his fanfares there's now also many folks, many musical friends who contribute to the vibe of this album. There's a track with Berlin MC Longfingah, as well as a stylistically wide range of remixes that reflect the symbiotic cooperation and mutual inspiration of these last years. Also features Superpendejos and Timboletti. CD version includes three bonus tracks featuring Discoshaman, Mollono.Bass, and Dreadsquad.
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LP
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ALGA 043-2LP
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$25.00
PREORDER
RELEASE DATE: 6/1/2018
Produced in collaboration with the legendary Jac Berrocal's label d'Avantage, More Intra Musique is the second LP in Alga Marghen's series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious Intra Musique free jazz first LP (ALGA 043LP, 2017) was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer or Watch Devil Go on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. More Intra Musique is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set... Bursting rehearsal with Eddie Gaumont... Is the piano well prepared? Besides the stingy mention Intra Musique sticked on the reel, nothing is known of this recording. Edition of 350 copies.
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10CD
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AOF 277CD
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$76.00
PREORDER
RELEASE DATE: 6/1/2018
"The period between 1985 and 1988 was the most productive in the long history of Controlled Bleeding. No fewer than 13 albums and three split works were released in this short timeframe, starting with Death in the Cameroon, and including releases on Sub Rosa, Dossier, and many others. Founder Paul Lemos, along with long-time members Joe Papa and Chris Moriarty produced material relentlessly over this three to four-year span, experimenting with noise, industrial, tribal sounds, goth, ethereal, and ambient music. In hind-sight, this furious output set the stage for Controlled Bleeding's more famous Wax Trax works, but the material itself found its way to every corner of the experimental world, and it influenced everyone. Artoffact Records is proud to announce a 10CD collection of Controlled Bleeding material, released between 1985 and 1988, much of which has been out of print for decades. The set starts with the tape-only Death in the Cameroon, and includes seven more Controlled Bleeding albums, including Headcrack, which has never been released on CD. Also included are two Controlled Bleeding off-shoots: the industrial one-off project The Art Barbeque, from 1985, and the Lemos / Papa collaboration Music For Stolen Icon from 1986. The set includes large-size reproductions of the front and back covers of each release, as well as a longform essay by Paul Lemos. All material has been remastered and restored. CD Contents: 1. Death in the Cameroon 2. The Art Barbeque - Feet Hacked Rails 3. Headcrack 4. Between Tides 5. Curd 6. Core 7. Paul Lemos & Joe Papa - Music for Stolen Icon 8. Music For the Scourging Ground 9. Music For Gilded Chambers 10. Songs From the Drain"
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12"
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APP 007EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
Losoul's Another Picture label follows on from EPs in 2017 by Honesty and the label boss himself with a new two tracker by Japanese artist Sasaki Hiroaki. The Yotsume label owner is based in Tokyo and his sleek sounds take cues from '80s new wave and look for a soulful vibe in electronic music. "EO1" is eight minutes of rubbery drums and loose, scattered percussion, tumbling toms and clicks. "Plain Song" is just as heartfelt, but icy hi hats and metal stabs are more upright -- eight minutes of organic, authentic deep house bliss.
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4LP
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AT 008LP
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$38.50
PREORDER
RELEASE DATE: 6/1/2018
Acid Test reissues the highly sought-after Acid Acid LP from Tin Man, originally released in 2005. Now titled Acid Acid Acid, it includes a fourth disc of unreleased material recorded from the period. Remastered by Stefan Betke.
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12"
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ATA 018EP
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
The legal age of majority and the right to vote. 1<3 : chronology and timing is mandatory to make things happen supposedly.. After the terrible plague of awful doppelgängers, it is time to smoke out the disgusting trolls, using the best ingredients possible.
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LP
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AUDIOMER 020LP
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$27.50
PREORDER
RELEASE DATE: 6/1/2018
Composer, musician, visual artist, and performer, Charlemagne Palestine is a legendary figure in the New York underground scene. At the piano or on his electronic oscillators, this outsider of skillful music experiments with the principles of resonance and repetition in a quest for the "golden sound": the ultimate harmonic vibration. Based in Brussels for 20 years now, his iconic work consisting of teddy bears, divinities, and other enchanting encounters is exhibited in BOZAR (AA SSCHMMETTRROOSSPPECCTIVVE, May 18-August 26, 2018). For the occasion, Charlemagne Palestine also presents two exceptional musical performances at the Kunstenfestivaldesarts. Published on the occasion of Charlemagne's AA-SSCHMMETTRROOSSPPECCTIVVE exhibition, audioMER. present historical piano recordings dating from circa 1974. They were played on a Bösendorfer model 220, regarded as the "Rolls Royce" of pianos, at Charlemagne's 64 North Moore Street studio, Tribeca in New York. The music here represents Charlemagne's infamous "strumming" technique.
Charlemagne Palestine was born Chaim Moshe Palestine in Brooklyn, New York of a Jewish immigrant family from Odessa and Minsk in 1947. At six years old he started to sing traditional Jewish cantorial music in the synagogue. At the New York University, he began composing electronic music at the NYU Electronic Music Studio run by Morton Subotnick where he worked with electronic synthesizer oscillators and filters which he would name "Spectral Continuum". Later Subotnick invited him in 1969 to relocate to Los Angeles and participate in the creation of a new radical school for multimedia, arts, music, dance, and theater known as the California Institute of the Arts. There he met happening artist inventor Allan Kaprow, video pioneer Nam June Paik, avant-garde composer James Tenney, fluxus artists Emmett Williams, Dick Higgins, Alison Knowles, and Judson Dance Theatre member and artist Simone Forti with whom Palestine created a unique music and dance form called "Illuminations" in 1970, which they have continued to perform irregularly over the last 45+ years even just recently at Centre Pompidou, Paris and MoMA, New York. At Cal Arts he developed many different practices: electronic and acoustic sound works, body performance art, video art and multimedia installations. With Forti he was invited for the first time to Europe to perform in a festival in Rome in 1972 where he met La Monte Young, Philip Glass, Steve Reich, and Terry Riley. With his revolutionary solo piano work Strumming Music (1974), he was included in the new musical trend known as minimal music.
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CD
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AUK 043CD
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Something Else is the first full-length offering from The Brian Jonestown Massacre in 2018. A self-titled full-length album is to follow in the fall of 2018. This is the 17th full-length release from the band, and the style is less experimental and returns to the traditional sound of the band. Recorded between 2017 and 2018, this nine-track album will please old and new fans alike. In 2017 the band did a brief tour of the US and Mexico City to support the band's 2017 album release, Don't Get Lost (AUK 040CD/LP), a relatively quiet year for the Brian Jonestown Massacre.
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LP
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AUK 043LP
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$20.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. 180 gram, white-color vinyl. Something Else is the first full-length offering from The Brian Jonestown Massacre in 2018. A self-titled full-length album is to follow in the fall of 2018. This is the 17th full-length release from the band, and the style is less experimental and returns to the traditional sound of the band. Recorded between 2017 and 2018, this nine-track album will please old and new fans alike. In 2017 the band did a brief tour of the US and Mexico City to support the band's 2017 album release, Don't Get Lost (AUK 040CD/LP), a relatively quiet year for the Brian Jonestown Massacre.
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12"
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BALL 107EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
Bombay Spring Rolls EP contains three tracks which all have their own strengths. The A side is a wide 45 rpm print of Thee J Johanz's cosmic "Intergalactic Rabbits Remix" of the original "Still Fukkin' With It" on side B, a catchy slo-mo disco track by Jim Lok. You'll also find Thee J Johanz's "Bombay Spring Rolls", which just happened on an afterparty in a studio in Bombay. With pre-production on the spot by Bombay's underground house and techno producers Abhi Meer (modular synth), Spacejams (TR-707), and Chhabb (bass machine). A digestive and spicy disc with a variety of flavors.
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2LP
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BE 004LP
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$27.50
PREORDER
RELEASE DATE: 6/1/2018
Black Editions present the first ever vinyl release of Ché-SHIZU's signature album A Journey, originally issued in 1994 by Tokyo's legendary P.S.F. Records. Ché-SHIZU is one of the most original and mystifying groups to ever emerge from the Tokyo underground. Founded by master improviser Chie Mukai in 1981 the group has been guided by her singular vision for nearly 40 years. Throughout its history Ché-SHIZU has challenged traditional notions of song structure and improvisation. Mukai's signature instrument, the Chinese er-hu, is an ancient two stringed bowed instrument rarely found outside of traditional music. Even within the wildly diverse roster of artists on P.S.F. Records, Ché-SHIZU is a playful and confounding outlier. Early on Mukai became active within the avant-garde movement flowering in Tokyo during the mid-1970s. She studied with renowned Fluxus composer and violinist Takehisa Kosugi, recalling, "that encounter was so huge for me, much more than any one technique. Even in terms of the er-hu, I only started playing it because Kosugi gave it to me." In 1975 she joined his East Bionic Symphonia, a large improvising ensemble featuring students from Tokyo's Bigakko art school. From there she contributed to improvising avant-garde groups including an early version of Marginal Consort and later the Vedda Music Workshop. Her work with Ché-SHIZU however is where her vision most clearly emerged. Ché-SHIZU released its first album I Can't Promise in 1984 on Zero Records, in time the album would become a revered classic. It would be another ten years before another full-length would be released. During that time the group performed extensively with various rotating line ups. In the summer of 1994, Mukai led the group to Studio J in Tokyo to record an album for the P.S.F. label. Released later that year, the album was titled A Journey. Fittingly, it is a sprawling excursion through ethereal dreamscapes, the group confident in its own resplendent joy. Over the album, the group creates a spontaneous, loose form of chamber pop that weaves folk and a light psychedelia into something entirely unique. Pop songs like "Juso Station" intersect with instrumentals such as the title track to create a varied yet coherent improvisational language. Remastered; deluxe double-LP edition cut at Dubplates & Mastering, Berlin and pressed at Pallas Germany. Includes new expansive artwork and lyric translations, housed in a spot gloss heavy gatefold jacket; Includes high resolution digital download.
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LP
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BETBC 010LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
The self-titled LP is not a collaboration record between the two London based artists -- Tim Garratt (Moon Zero) and Matthew Heywood (Bruised Skies). Inchindown is a project focused on exploring ambient territory only hinted at with the two artists' solo work. Inchindown is a powerfully mournful and beautifully stark work, the soundtrack to walking through a storm of ash only to realize that the city is on fire whilst viewing this incredible spectacle from afar. Beautifully dark yet constantly hopeful, the album also pays homage to older and forgotten areas of their hometown of Hackney through field recordings. Notably "Ridley Road", a section of Hackney that houses a huge indoor and outdoor market and has been victim to violence over the years, features heavily as a repeated motif; a genuine and uniquely recorded atmosphere engulfs the listener at every stage of progression in this three-part work.
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12"
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BK 030EP
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$11.50
PREORDER
RELEASE DATE: 6/1/2018
Clay Wilson's third release on The Bunker New York is a dance EP that manages to be both restrained and cacophonous. The unreleased track "Osho" is given the remix treatment. While the original version is subtly shifting with a cascade of rhythm at the forefront, the Jasen Loveland remix acidifies the track and adds a punch of darkness. Derek Plaslaiko's "oogly boogly" remix delivers a jangly swing that loosens up Clay's tight production to great effect. rrao's contribution to the mix is a subtle and weird version with a murmuring vocal amping up the surreal abstraction.
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CD
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BLANC 011CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
Near Future is the collaboration between Blancmange's Neil Arthur and solo electronic artist Bernholz. Files were swapped, sounds, and lyrics re-wired, and Ideal Home is the gloriously minimal result. The album is icy and detached; beautiful and otherworldly; Bernholz's spoken word monolog on "Dawn" sounding like a warning signal from the subconscious, while digitized electronics usher in some of Neil Arthur's most intimate vocals.
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12"
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BNR 175EP
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$12.00
PREORDER
RELEASE DATE: 6/1/2018
Fashion design is a creative task involving the shaping, bending, and breaking of codes. Techno is similar, as one mines the genre's legacy in order to navigate new territory. Creative polymath Virgil Abloh is most widely known for his fashion work, but it's no surprise his track "Orvnge" with Boys Noize is a powerfully executed exercise in the shared practice of finding the memetic, fractal base that forms the skeleton for a myriad of patterns that inevitably follow. "Orvnge" is a club weapon serving as a robust beginning for the further possibilities of their collaboration yet to unfold. Orange vinyl.
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CD
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BORNBAD 104CD
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
A few years before Upper Volta changed its name to Burkina Faso, thanks to Thomas Sankara's dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country's independence in 1960. Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries and to the longing for "cultural authenticity" conveyed through Guinean music. The first two decades of independence saw the upcoming of such orchestras and artists, such as Pierre Sandwidi. Nicknamed "the troubadour from the bush", Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, André-Marie Tala, or Mamo Lagbema. His entire released output consists of less than ten 7"s, two LPs, and a bunch of cassettes. Along with his friends Jean-Bernard Samboué, Abdoulaye Cissé, Oger Kaboré, Joseph Salambéré, or Richard Seydou Traoré, he was part of the "vedettes en herbe" movement. Their songs were played on the national radio before being released as a single, recorded live in the studio. In 1970, Pierre Sandwidi traveled across the country, working for the state. He met Bobo-Dioulasso cultural entrepreneur and Volta Jazz boss Idrissa Koné, who offered him to record a few songs for his own imprint, Disques Paysans Noirs. Sandwidi delivered "Lucie", a romantic song in the classic mandingo vein. In 1975, Pierre Sandwidi recorded two more singles at the Maison du Peuple. Using an Akai recorder as a soundboard, he was backed by Super Volta's mighty guitar player Désiré Traoré. In 1976, he recorded three more 45s with L'Harmonie Voltaïque as a backing band. In 1979, while in Abidjan, Pierre Sandwidi recorded his first full length LP with the help of Voltaic Prince Edouard Ouedraogo. He launched his own "callao" dance, as a homage to this Sahelian bird that bounces instead of walking. Confronted with many temptations, Sandwidi sang about his will to stay true to his values, being first and foremost an African. A true callao song, "Mariétou" sounds like genuine French Sahelian pop. After Sankara's fall in 1987, Sandwidi distanced himself from politics, focusing on writing new songs and plays. Twenty years after he died, this compilation stands as a vibrant tribute to one of West Africa's most outstanding and adamant artists. CD digipack includes 16-page booklet.
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CD
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BORNBAD 105CD
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Born Bad Records present the second volume Chebran, a series focusing on French boogie. The French in the '80s were not faint-hearted: as some threw themselves heart and soul into music or business, others wouldn't mind going bottomless to get themselves noticed. While Bernard Tapie soon realized his own fortune was rather to be found in business, many music-loving dreamers already imagined themselves in the sun, in an enchanting world made of funky rhythms and synthesizers. While the French National Front was growing in the shadow of François Mitterrand, these guys mixed New York-style funk with electronic, Eastern, or African sounds. With their genre-crossing arrangements and often chanted lyrics, they brought honor to the "SOS Racisme" generation, unconsciously outlining the nascent French contemporary urban culture. The French, while admiring Grace Jones' "savage beauty" in Jean-Paul Goude's advertisements, were enjoying their freshly-gained fifth week of paid vacation, tanning on the beaches of Maghreb. Following The Clash's example, punks and rockers converted to reggae, and the new independent radios opened up their programming to "world music". At the other end of the pyramid, the successive waves of immigration enriched France in a much better way. With the rise of "Youth and Culture Centers", the practice of musical instruments became affordable for those of humble background, allowing for new bands to appear. Caught between the spirit of Gallic bawdiness and their own community hopes, the musicians from this singular scene probably didn't succeed in life the way Bernard Tapie meant it. But their explorations left no room for doubt: by facilitating the rise of a new hybrid culture about to give birth, among others, to French hip-hop, those little-known artists indeed were off on an adventure, quite simply. Since the '60s, numerous venues destined for the North-African community had appeared all over France. In those bars and nightclubs, Eastern 45s were broadcast as well as local productions combining Raï, Frenchy funk, or proto-hip-hop. Thanks to the cassette tape medium, new songs kept circulating between Paris, Lille, Strasbourg, Marseilles, and many other urban areas -- mainly among the working class. The artists appearing on these compilations progressively shaped a new style, blending sounds from their original cultures and from their adopted country. Features Phil Barney, JM Black, Ettika, Sammy Massamba, Shams Dinn, Alfio Scandurra, Philippe Chany, Nordine Staiffi, Brigitte Et Michot, Alec Mansion, Marie Jose Fa, Hamidou, Ganawa, Creole Star, Manu, Ethnie, and Joel Ferrati.
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2LP
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BORNBAD 105LP
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$23.00
PREORDER
RELEASE DATE: 6/1/2018
Double LP version. Includes insert. Born Bad Records present the second volume Chebran, a series focusing on French boogie. The French in the '80s were not faint-hearted: as some threw themselves heart and soul into music or business, others wouldn't mind going bottomless to get themselves noticed. While Bernard Tapie soon realized his own fortune was rather to be found in business, many music-loving dreamers already imagined themselves in the sun, in an enchanting world made of funky rhythms and synthesizers. While the French National Front was growing in the shadow of François Mitterrand, these guys mixed New York-style funk with electronic, Eastern, or African sounds. With their genre-crossing arrangements and often chanted lyrics, they brought honor to the "SOS Racisme" generation, unconsciously outlining the nascent French contemporary urban culture. The French, while admiring Grace Jones' "savage beauty" in Jean-Paul Goude's advertisements, were enjoying their freshly-gained fifth week of paid vacation, tanning on the beaches of Maghreb. Following The Clash's example, punks and rockers converted to reggae, and the new independent radios opened up their programming to "world music". At the other end of the pyramid, the successive waves of immigration enriched France in a much better way. With the rise of "Youth and Culture Centers", the practice of musical instruments became affordable for those of humble background, allowing for new bands to appear. Caught between the spirit of Gallic bawdiness and their own community hopes, the musicians from this singular scene probably didn't succeed in life the way Bernard Tapie meant it. But their explorations left no room for doubt: by facilitating the rise of a new hybrid culture about to give birth, among others, to French hip-hop, those little-known artists indeed were off on an adventure, quite simply. Since the '60s, numerous venues destined for the North-African community had appeared all over France. In those bars and nightclubs, Eastern 45s were broadcast as well as local productions combining Raï, Frenchy funk, or proto-hip-hop. Thanks to the cassette tape medium, new songs kept circulating between Paris, Lille, Strasbourg, Marseilles, and many other urban areas -- mainly among the working class. The artists appearing on these compilations progressively shaped a new style, blending sounds from their original cultures and from their adopted country. Features Phil Barney, JM Black, Ettika, Sammy Massamba, Shams Dinn, Alfio Scandurra, Philippe Chany, Nordine Staiffi, Brigitte Et Michot, Alec Mansion, Marie Jose Fa, Hamidou, Ganawa, Creole Star, Manu, Ethnie, and Joel Ferrati.
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2LP
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BRD 025LP
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$53.00
PREORDER
RELEASE DATE: 6/1/2018
Tom Lax on Mamitri Yulith Empress Yonagunisan's Yulith Lilith: "The world of Mamitori is as beguiling as it is unchartered. Their, just previous to this, live album Mamitori Ulithi Empress Yonaguni San-25/12/20/13 (also on Bruit Direct Disques) fizzled the ears of pine-tops with its staggeringly great execution of outsider ramble gnashing with no wave rumble, creating a sound so unique, scribes stuttered on hiccups of comparison. Trying to 'get it right'. If copies still exist, plonk down some cabbage and see what I mean. So when the check writers at Bruit said they were issuing forth a 2LP of new material, all one could do was wait and wonder. It's the line in the sand many dare not cross. The double LP format, in its purest distillation, exists as the medium to convey realizations of the most sprawling and unconventional design. And by God, if Mamitri Yulith Empress Yonagunisan latest deuce, Yulith Lilith, doesn't ding all the right dongs, then ladies and gentlemen, I will cook your goose. The heart of their sound is beyond words, it's more chaos theory, transmuting inside the eye of a hurricane. Imagine 10,000 blackbirds, perched in the trees above Tompkins Square Park, their shrill natter suffocating the air, while below Arto Lindsay spanges in tap shoes, his voice wavering fugue-like over the birds, while the clicking of his gait keeps a rhythm out of sync-yet completely on point-with the overall scheme. Or if '70s era Faust had become outlaws, exiled themselves deep inside the Hokkaido landscape and for the rest of eternity tooled around Akkeshi Bay on speedboats, lustily consuming wild ales, sustaining themselves solely on plankton and oysters. Mamitri Yulith Empress Yonagunisan are Bushido code Circuit Rider and Yulith Lilith is an unimpeachable masterpiece extolling the marauding valor of a band incapable of succumbing to convention. Housed inside transparent screen-printed sleeves-resembling alien x-rays. It's like the future just opened up. And guess what? It's full of stars. One of my top picks of 2018 by a mile. Not to be missed." Double gatefold album; clear vinyl with a custom made transparent sleeve; two quadri stickers; plastic insert; all hand made in Japan.
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LP
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CO 008LP
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$18.00
PREORDER
RELEASE DATE: 6/1/2018
The heavy pulse of sound systems synchronizes with the precision of musique concrète and the reconstructed memory of a masked folk dance of the Swiss mountains. Techno, drum 'n' bass and dub are echoed within this sonic processional, where samples are pulled apart and recycled, cut at the beginning and end, then linked together. Tresque takes his name from an open-chain circle dance from medieval southern Europe. Under the musical moniker d'Incise he has played on numerous solo and collaborative projects with Cyril Bondi, designing quiet, intensive listening experiences with various combinations of software, recordings from vinyl or in the field, modified objects, percussion and harmonium. As Tresque the delicate minimalism he's known for takes shape within driving grooves. Airy, spacious, amplified noise from his collection of samples is sliced and tethered to weightier, physical beats. A tension forms between uplift and downfall, hypnotically oscillating between structural textures and collective dance.
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LP
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CRNBR 16050LP
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$21.00
PREORDER
RELEASE DATE: 6/1/2018
Cornbread Records present a reissue of Marcos Valle's debut album Samba "Demais", originally released in 1963. Marcos Valle's incredible debut established him as one of the premier performers and composers in the emerging Brazilian popular music landscape. Barely out of his Rio high school, where classmates included fellow Brazilian musical legends Edu Lobo and Dori Caymmi, Valle caught the eye of label executives and had a debut record out before his 20th birthday. Though he would later go on to be a massive superstar across his native country and a cult figure throughout the rest of the world, this humble beginning show Valle already had a complete mastery of the samba songwriting form and was already a brilliant performer. An essential Brazilian title. Includes one bonus track. 180 gram vinyl.
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CD
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CSPC 004CD
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$12.50
PREORDER
RELEASE DATE: 6/1/2018
Copacetic present a reissue of Prince Buster's I Feel The Spirit, originally released in 1963. Cecil Bustamente Campbell, better known around the world as Prince Buster, was one of the most important figures in the development of ska -- and, ultimately, reggae -- music. Not just an innovator, he's also one of the more distinct and distinguished voices in the history of Jamaican popular music. I Feel The Spirit is his very first long player -- and was a hit both at home in Kingston, and in the West Indian clubs of London, where it would help to inspire the late '70s/early '80s two-tone movement. This album is one of the most important documents of early Jamaican ska, and features backing from ska luminaries as Drumbago, Lester Sterling, and Rico Rodriguez.
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12"
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DIAL 075EP
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
Since the early aughts, Alan Abrahams, aka Portable, has been producing records for labels like Perlon, Live At Robert Johnson, K7, and Süd Electronic. With a new band project RANGEr, the South Africa born Alan Abrahams is an artist in-between genres. A Life Without Notifications is now here, marking his first release for Dial records.
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CD
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DICC 001CD
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$11.00
PREORDER
RELEASE DATE: 6/1/2018
Future Sound Of Leipzig features talented and upcoming label artists emerging from an open-minded and versatile scene with a long history of endorsing leftfield endeavors. Leipzig-based label Defrostatica unearthed tracks ranging from 80 to 170 bpm, spanning across genres like hip-hop, trap, jungle, juke, and half-tempo drum-and-bass. The sound of these 17 artists manifests a mission aligned with Defrostatica in committing to underground music culture. Features Alec, Kjubi, Maltin Worf, DJ YumYum, Mute-atioN, Trainsient, Kiat, Booga, Alza 54, BRKN1, RUZ, Schmeichel, KC, Goodkat, SicStyle, Kator, The Boy And The Sine, and Sinister X.
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12"
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DPC 067EP
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$12.00
PREORDER
RELEASE DATE: 6/1/2018
Drum Union is a new series documenting the different shades of leftfield house. Look Like merges Afro-Cuban rhythms with modern electronica soundshapes. Manuel Fischer presents a beat-driven disco-influenced track to make any dancefloor bur. London-based Tony Nwachukwu (aka Attica Blues, aka Wah-Chu-Ku) provides a deep broken dub techno monster. Mitsubishi Galaxy, who are also known as Jack Pattern take you into a wavy trip to another dimension. A journey wider and deeper than most of the average 4/4 business!
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2CD
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DPROM 140CD
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$19.50
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RELEASE DATE: 6/1/2018
Sinister Whimsy For The Wretched contains the long out-of-print albums, Sugar Fish Drink (1992) and Large Ladies With Cake In The Oven (1993). Both discs are remastered by Andrew Liles. You will never hear these better. Sugar Fish Drink, "Cod Surrealism", is a distinctly wet aberration on paranoid aesthetics occasionally coordinated by John Balance and Steven Stapleton. For Large Ladies With Cake In The Oven, all tracks were previously released in some form or another. Songs titles have been altered from their original forms on their original releases. "Head Cold" is very close to being the exact song as the Miss Ticker remix of "Cold" from the Thunder Perfect Mind CD reissue and "Steel Dream March Of The Metal Man".
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3CD/DVD/Book
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DTD 053CD
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$55.00
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RELEASE DATE: 6/1/2018
This watershed release represents the life's work of William Ferris, an audio recordist, filmmaker, folklorist, and teacher with an unwavering commitment to establish and to expand the study of the American South. William Ferris was born in Vicksburg, Mississippi in 1942. Growing up on a working farm, Ferris began at a young age documenting the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served as powerful tools in institutions of higher learning for decades. Dust-to-Digital present these films and recordings. The label's hope is that the enjoyment and educational value that has been received by Ferris's students over the years will be transmitted to listeners around the world and further the understanding of Southern culture. Voices of Mississippi: Artists and Musicians Documented by William Ferris includes: a 120-page hardcover book in full color edited by William Ferris Writings by Scott Barretta, David Evans, and Tom Rankin; three CDs -- two of the CDs feature blues and gospel recordings (1966-1978), and the final CD features interviews and storytelling (1968-1994); and one DVD featuring documentary films (1972-1980). Transcriptions and annotations are provided for each track. Comes in a cigar box.
In addition to being a groundbreaking documentarian of the American South, William Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture (1989) and is the author of multiple books. In 1991, Rolling Stone magazine named him among the top ten professors in the United States.
The recordings feature James "Son Ford" Thomas, Lovey Williams, Wallace "Pine-Top" Johnson, Maudie Shirley, and Jasper Love, Scott Dunbar, Mississippi Fred McDowell, Louis Dotson, Sonny Boy Watson, Sam Myers, Tom Dumas, Unidentified Musician with Mississippi Fred McDowell, Walter Lee Hood, Wash Heron and "Big" Jack Johnson, James Hughes, Leland Musician, Inmates at Parchman Farm, George Lee "Sun Bud" Spears, James "Son Ford" Thomas with Sonny Boy Watson, Mary and Amanda Gordon, The Southland Hummingbirds, Lovey Williams, Reverend Smith and Family, Liddle Hines, Providence Missionary Baptist Church, Church of God in Christ, Fannie Bell Chapman, Mary Alice and Alan Mcgowan, Reverend Ott and Family, Rose Hill Church, Lovey Williams and Family, Fannie Bell Chapman and Family, Reverend Isaac Thomas and Rose Hill Church, Barry Hannah, Alice Walker, Alex Haley, Ray Lum, Bobby Rush, Joe "Skeet" Skillet, Joe Cooper, Shelby "Poppa Jazz" Brown, B.B. King, Allen Ginsberg, James "Son Ford" Thomas, and Bill Ferris, Robert Penn Warren, Pecolia Warner, Victor Bobb, and Pete Seeger.
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CD
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DTR 004CD
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$12.50
PREORDER
RELEASE DATE: 6/1/2018
Surgeon's new full-length, Luminosity Device, takes Bardo Thödol -- the Tibetan Book of the Dead -- as a starting point for a rhythmic journey into those interstitial spaces where body, mind, and soul no longer seem like distinct categories. It has the potential to turn anything from a club visit to a train commute into a collision with the otherworldly. Since the 1990s, Anthony Child has been one of the most consistent and pivotal electronic music producers to use that craft as a tool for achieving transcendence. Under his aptly chosen DJing and production alias Surgeon, his technical precision and clarity of creative vision have resulted in a highly influential form of techno-mesmerism documented in exhaustive live sets and incisive studio recordings. His talent for wielding beats and sonic textures as healing technologies and as magical weapons simultaneously, and particularly for excelling in "long-form" treatments, has made him not only a key contributor to the legacies of touchstone labels Tresor and Downwards, but also a prized collaborator (his British Murder Boys duo with Regis has capitalized on both producers' natural intensity to devastating effect). The pure techno idiom has never been his sole method of exploring the vastness of inner space, or of illustrating the interaction of thought and memory with the external environment: the work published under his own name, e.g. the two-volume set Electronic Recordings From Maui Jungle (EMEGO 215CD/LP, EMEGO 230CD/LP), along with newer collaborations like the Transcendence Orchestra with Daniel Bean (EMEGO 246LP), have shown Child to have a masterful knowledge of the intimate qualities of drone and atmospheric sound: the sound-scaping talent utilized in these projects is capable of drawing out acute emotional reactions from a broad spectrum of listeners.
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2LP
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DTR 004LP
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$25.50
PREORDER
RELEASE DATE: 6/1/2018
Double LP version. Includes download code. Surgeon's new full-length, Luminosity Device, takes Bardo Thödol -- the Tibetan Book of the Dead -- as a starting point for a rhythmic journey into those interstitial spaces where body, mind, and soul no longer seem like distinct categories. It has the potential to turn anything from a club visit to a train commute into a collision with the otherworldly. Since the 1990s, Anthony Child has been one of the most consistent and pivotal electronic music producers to use that craft as a tool for achieving transcendence. Under his aptly chosen DJing and production alias Surgeon, his technical precision and clarity of creative vision have resulted in a highly influential form of techno-mesmerism documented in exhaustive live sets and incisive studio recordings. His talent for wielding beats and sonic textures as healing technologies and as magical weapons simultaneously, and particularly for excelling in "long-form" treatments, has made him not only a key contributor to the legacies of touchstone labels Tresor and Downwards, but also a prized collaborator (his British Murder Boys duo with Regis has capitalized on both producers' natural intensity to devastating effect). The pure techno idiom has never been his sole method of exploring the vastness of inner space, or of illustrating the interaction of thought and memory with the external environment: the work published under his own name, e.g. the two-volume set Electronic Recordings From Maui Jungle (EMEGO 215CD/LP, EMEGO 230CD/LP), along with newer collaborations like the Transcendence Orchestra with Daniel Bean (EMEGO 246LP), have shown Child to have a masterful knowledge of the intimate qualities of drone and atmospheric sound: the sound-scaping talent utilized in these projects is capable of drawing out acute emotional reactions from a broad spectrum of listeners.
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CD
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DUST 054CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth and Black Daisy Wheel (DUST 055CD/LP), translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation.
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LP
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DUST 054LP
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$32.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth and Black Daisy Wheel (DUST 055CD/LP), translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation.
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CD
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DUST 055CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth (DUST 054CD/LP) and Black Daisy Wheel, translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation. "Tell Me What You Remember" features Emika.
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LP
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DUST 055LP
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$32.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. It's a funny old world, and yet again, The Black Dog have provided the soundtrack. Our fast-approaching dystopia has been envisioned and documented by the band for decades. Now, The Black Dog's two new albums, Post-Truth (DUST 054CD/LP) and Black Daisy Wheel, translate their growing horror into some of their most accessible and impactful music, translating our manufactured reality into high-energy dancefloor constructions on Post-Truth, and reflective ambient excursions on Black Daisy Wheel. Long familiar with the tropes and pitfalls of esoteric undergrounds, in both the pre- and post-internet eras, The Black Dog have ventured deep into contemporary conspiratorial cultures with a trenchantly critical eye. In the '80s, conspiracy theories were a tonic for a skeptical mind, a stimulant to agile thinking. Today, they have become the stock in trade of mainstream political influence. The scene has morphed into a rabbit hole where nothing is "really" real, everything is a hoax, and everyone is out to get you. The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. Arguing against proven science is a part of the entry criteria, and willful pedantry its standard currency. The impact on mental health is corrosive: fear, uncertainty, and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. Auto-suggestion is rife, where willing victims drink bleach (MMS) at the behest of YouTube videos, flat-earthers are taken seriously, and the manufactured fearful believe they are being gang-stalked for finding monsters on pixelated screens. The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away. You couldn't make it up, even though that is exactly what the conspiratorial fringe (now one sharp corner from the mainstream) always do. As soon as you start engaging with people in the so-called "truth movement", one minute it's painful, but the next can be genuinely funny; these are people who are both on edge and upon the edge of a larger social and political reality that, for worse and for (even) worse, defines our times. Hence these two very different albums. Black Daisy Wheel is reflective, often intense, frequently compassionate; while Post-Truth was written while The Black Dog was fully engaged with people whose paranoia was in full swing. Welcome to our disinformation. "Tell Me What You Remember" features Emika.
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12"
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ED 107EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
Imagine Mac DeMarco on a boat with French touch legends Cassius, Canblaster, and new pop rising star Moodoid!
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LP
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EDDA 047LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. In life and music, Emma Tricca is an explorer. Just as Davey Graham set sail for Morocco and Vashti Bunyan for the Outer Hebrides in search of their elusive muse, Rome-raised singer-songwriter Tricca has journeyed to London, New York, Texas, and further afield to seek the heart of her own music. Tricca's new album St Peter -- created with a cast of supporting artists including global icon Judy Collins, Sonic Youth's Steve Shelley, and Dream Syndicate guitarist Jason Victor -- takes a bracing plunge into the unknown, leaving the folksinger tag far behind with a rolling collection of reverie-inducing raw diamonds. Tricca released her first melancholic masterpiece, 2009's crystalline long-player Minor White on Bird Records (BMS 024CD), an offshoot of Finders Keepers run by husband and wife team Jane Weaver and Andy Votel. Five years later Tricca released Relic (2014), an album even more poised and precise than its predecessor. A collaboration with longtime friend and guitar wizard Jason McNiff led to 2017's sparkling Southern Star EP (EDDA 043CD/LP), while a song on the soundtrack of Patrick Stewart-starring US indie film Match (2014) raised her profile. Recorded near-live at Echo Canyon West in Hoboken, St Peter draws on crunchy country rock, homespun psychedelia, Morricone soundtracks, New York underground grit, and English folk grandeur to weave a wholly unique and surprising spell. More musical guests soon joined the party -- gruff songwriting hero Howe Gelb put in a brief cameo, while Tricca was able to live out a childhood fantasy by inviting Judy Collins to appear on the album's penultimate cut, "Solomon Said". The album is so loaded with texture that is almost feels tangible; a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace.
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LP
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ELJ 008LP
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$23.50
PREORDER
RELEASE DATE: 6/1/2018
A reissue of Cecil McBee's Mutima, originally released in 1974. Licensed by Strata-East Records.
"A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era . . . In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. Mutima (translated as 'unseen forces') undoubtedly solidified his stature and brilliance as a major player."--Michael G. Nastos, All Music
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LP
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ERGODOS 028LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
Seán Mac Erlaine's richly-textured woodwind sound meets an expanded palette on Music For Empty Ears, the Irish musician's breathtaking new album. Having honed his distinctively-shaped soliloquies over his first two solo records, Mac Erlaine's work now bears the mark of collaborations with Norwegian luminaries Jan Bang and Eivind Aarset to reveal a fresh, variegated musical language. The album journeys through a splendor of musical shades: from the gently insistent minimal grooves and hushed invocations of tracks such as "The Melting Song"; to slow pans across dark, saturated vistas on tracks such as "Winter Flat Map"; to a warm, celebratory treatment of the Irish traditional tune "An Buachaill Caol Dubh"; and to moments of visceral, splintered abstraction in "Love The Way They Sing" and "The Alchemist III". Whether it's the elusive vocals of Galway singer Sadhbh Ní Dhálaigh or Mac Erlaine's sublime clarinet melodies that catch you, Music For Empty Ears is an album that reveals more and more with each listen. Bespoke print by Dublin design studio Destinctive Repetition. Comes on heavy-weight vinyl.
Seán Mac Erlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognized as one of Ireland's most forward-thinking creative musicians. Mac Erlaine works in a variety of settings from free improvisation, contemporary jazz, folk music and experimental theatre, and is a member of the groups This Is How We Fly and the Quiet Music Ensemble. "One of the most interesting and adventurous musicians of his generation" --The Irish Times.
Electronic musician/producer Jan Bang has worked with such luminaries as Jon Hassell, David Sylvian, Brian Eno, and Arve Henriksen. From his work as a pop producer in the '90s, his pioneering work in developing the concept of live remix has led to him being constantly in-demand as producer and performer today. "[Jan Bang is] defying all misconceptions about the vast potential of electronic composition." --All About Jazz
Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. As one of Norway's most in-demand guitarists, Eivind Aarset has worked with Jon Hassell, David Sylvian, Bill Laswell, Jan Garbarek, and many more. "Norwegian Eivind Aarset is in a class of his own proving that lyricism and raw noise aren't contradictory." --The Guardian
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12"
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ESP 004EP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
First ever vinyl reissue of this rare and sought-after private 12" from Germany, 1979, recorded at the legendary Conny's Studio. Smooth and laid-back disco-funk-Balearic sounds, including the underground club classic "House At The Sea". Goya was a German band featuring drummer Charles M. Heuer, also a collaborator of Günter Schickert. RIYL: Stephen Encinas, Psychemagik, Gino Soccio, Dexter Wansel.
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CD
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FABRIC 196CD
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$16.00
PREORDER
RELEASE DATE: 6/1/2018
Dimension provides the 98th instalment of FabricLive, the world's leading dubstep, drum & bass, and electro mix series from London's renowned Fabric nightclub. FabricLive 98 is 56 blazing bass tracks creatively bound with energy and sensitivity. It is a definitive snapshot of drum & bass in 2018 featuring 22 exclusives coming from both bigger acts and underground artists namely deadmau5, Skrillex, Chase & Status, Calyx & Teebee, Metrik, and Dossa & Locuzzed. Early on in Dimension's career a combination of effortless musicality and production prowess caught the attention of producers and DJs such as Andy C and Sub Focus. These days Dimension is receiving mainstream success without deliberately releasing crossover music -- striking the perfect balance between club and radio. Dimension on the mix: "Some of the most talented producers from all around the scene went out their way to create bespoke VIPs from their back catalogue, specifically for the mix". Also features Dimension, RAPHAELLA, Culture Shock, Concept 2, The Prototypes, Document One, 1991, SpectraSoul, Sub Focus, Skrillex My Nu Leng & Flava D, Bensley, Benny L, Dillinja DJ Fresh, Sigma, Sub Focus, Chris Lake, High Contrast, B-Complex, Rockwell, Fred V & Grafix, IllSkillz, Wilkinson, Empire Of The Sun, Turno, Elisabeth Troy, Koncept, Commix, Tantrum Desire, Cyantific, John B, and Dusky. Packaged in bespoke slipcase containing die-embossed tin.
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12"
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FAKELOVE 004EP
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$16.50
PREORDER
RELEASE DATE: 6/1/2018
More Fake Love for you and only you.
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FARO 203LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
LP version. 180 gram vinyl. For his third album for Far Out Recordings, London-based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement "Palmares" in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and it features Azymuth drummer Ivan "Mamao" Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel. Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee and having been turned away from Guildhall School of Music for being "too raw", he became disillusioned with what he saw as the exclusivity, elitism, and dangerous institutionalization of the jazz world. Yet Sean's love for music and the drive to create never faltered. Hermeto Pascoal, the man Miles Davis once dubbed "the most impressive musician in the world", is a similarly independent artist. by the 17th century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while made up mostly of escaped African slaves, many deserter conquistadors also joined the settlement. Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, Rhodes, and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. "Moment of Collapse" is Sean's poetic study on the uncertainties of modern day western civilization, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own "Montreux" (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento and Lo Borges MPB classic "Tudo Que Voce Podia Ser" featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros. The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out Recordings boss Joe Davis in the summer of 2016.
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LP
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FD 101LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
The very latest from Ramleh's Anthony Di Franco, whose long-running solo JFK project has been dedicated to the kind of concrete-mixed rhythmic pummel countless others would almost kill for since the cassette network culture of the 1980s. It's an immersive sound that, naturally, shares a little common ground with Ramleh yet emphasizes the monstrous chasms that can be drawn from a sturdy combo of bass-churn and galvanized beats. Whilst the labyrinthine textures beamed in from steelworks remain very much suggestive of a charred psychedelia twisted way beyond any stupid hippie dream, JFK's work remains hewn with a distinctive edge at once uncompromising and agile enough to pull you in without the slightest hint of a protest. Music perfect for the age always hinted at when younger by pessimistic sci-fi films that we sometimes appear to be living in... Eight devastating tracks mastered and cut by Matt Colton at Alchemy, London.
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12"
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FIGURE 096EP
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Juxta Position finally finds his way to Figure, with highly infectious, acid-festered analog techno runs. Feeding on the raw and dynamic energy of live hardware production, these jams hit the sweet spot where constant modulation and spontaneous changes transform a bunch of loops into something more than the sum of its parts. Whether it's a bouncy ride around the rings of Saturn with "Elixir", the frantic sledge hammer-assault of "Stepping", cascading down into the machine's bowels on "Automated Reproduction", or the all-out overdrive that is "Pestered" -- every track on this record takes on a whole life of its own.
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12"
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FJ 012EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
The producer crew around Footjob completes catalog number 12 with the first ever label sampler, highlighting their love for a variety of styles. Le Rubrique starts with an Afro disco banger, followed by a funky piano piece from Phonk D and the jazz formation Triorität for all the old school lovers out there. The EP continues with an extraordinary dancefloor filler by Lukas Lehmann and the label's own supergroup Pallaspeople. On the last track Sascha Ciminiera takes you into the deepness of meditative house music with a sexy sax line.
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12"
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FOMDO 015EP
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$12.00
PREORDER
RELEASE DATE: 6/1/2018
Hot off the back of the second full length Far Out Monster Disco Orchestra LP Black Sun (FARO 202CD/LP, 2018), the orchestra's prolific remix series, which has so far included reworks from the likes of Theo Parrish, DJ Spinna, Andres, and Dego, rolls on. John Morales's massive "M&M Main Mix" of "Step Into My Life" featuring Arthur Verocai gets a reissue, alongside a brand new remix of "The Two Of Us" from Al Kent, who highlights the hypnotic backing vocals of Brazilian psych-folk master Mauricio Maestro, for an emotionally charged Balearic anthem, complete with heavy dub mix.
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LP
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FON 203LP
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$19.50
PREORDER
RELEASE DATE: 6/1/2018
Meatbingo returns after a lengthy gap following his 2013 Skam album Trendy Robots (SKASSETTE 003CS, 2013) with a brand-new LP of his trademark precise micro-edited cutup-funk on Fonolith. The Error of My WAVs contains eight fresh tracks of tightly-wound, laser-focused disco chaos. Like a dizzying hit of a future dancefloor drug administered digitally into your avatar's holographic brain. Augmenting his intensive sample-mashing approach with bass guitar playing and scrambled up elements of his own back catalog, WAVs sees producer Neil Scrivin further evolving and expanding the limits of the Meatbingo sound.
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LP
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FORDIS 002LP
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$25.00
PREORDER
RELEASE DATE: 6/1/2018
Far Out Recordings present a reissue of Azambuja & Cia's self-titled album, originally released in 1975. In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. Sporting a dodgy moustache and an equally troubling haircut, Carioca conman Paulo Maurício Azambuja (played by Anysio) would flog his own mother's leg if he could, and his ever-ridiculous scams are inevitably always destined to fail. This soundtrack/musical reimagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth, keyboard maestro Jose Roberto Bertrami, who arranged the album alongside renowned conductor and composer Jose Menezes, elevates the groovy odd-ball sound to another dimension, with his set up including Fender Rhodes, Arp Strings, Arp Omni, Clavinet, and Hammond organ. Remaining Azymuth members Ivan Conti (drums) and Alex Malheiros (bass) provide the signature Azymuth foundation, and saxophone prodigy Victor Assis Brasil and legendary multi-instrumentalist producer Durval Ferreira also feature. As well as its distinctly comedic character, what makes the music so special is the coming together of traditional samba roots, and Azymuth's ahead-of-its-time psychedelic funk influence. Each side ends with a comedy monolog, complete with live audience laughter, but before that you get seven tracks of weird and wonderfully emotive Brazilian groove music. 180 gram vinyl.
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LP
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FORDIS 003LP
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$25.00
PREORDER
RELEASE DATE: 6/1/2018
Far Out Recordings present a reissue of Baiano & Os Novos Caetanos's self-titled album, originally released in 1974. Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Satirizing Brazil's tropicalia movement in the 1970s, the duo took a friendly crack at the likes of Caetano Veloso and psychedelic rockers Novos Baianos, with their righteous tropicalista alter-egos "Baiano" and "Paulinho Boca de Profeta" poetically denouncing the dictatorship while simultaneously mocking those who took themselves too seriously. Jazz funk legends Azymuth play backing band with keyboard maestro Jose Roberto Bertrami also responsible for the arrangements on the album. Azymuth's free and funky psych sounds combine with accordion, harmonica, brass, and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk, and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira. 180 gram vinyl.
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LP
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FTR 355LP
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$18.50
PREORDER
RELEASE DATE: 6/1/2018
"Debut album by this Turners Falls-based quartet led by Adam Langellotti of Sore Eros and widely hailed for his engineering work. The sound on Transient Response is languid ruralist prog-pop, with help from Gary War, Ma Turner, Shannon & Beverly Ketch, and other Valley travelers. New Parents can be pretty raw live, but the overall vibe here is smoother and distinctly out-of-time. Different segments remind me of everything from Fraser & DeBolt to Brinsley Schwarz to Great Plains and back again. Something about the way the production is layered gives the record a feel quite redolent of the early '70s, but the more you play it, the clearer its contemporary origins become. Amongst the classic rock instrumental touches there are short bursts of weirdness that telegraph a 21st Century post-whatsis aesthetic as clearly as a skunk broadcasts stink. Jenifer Gelineau's violin work is an extremely important part of the tunes on which it appears. Her work here has a texture that binds Adam's voice and words to a point that looks forward and backwards in equal measures. Without it, I feel as though the album would have a certain wobble to it. Her fiddle is the gyroscope at the center of things. The fact that Anthony Pasquarosa did the cover art and Lee Ranaldo provided the insert photo are indicative of the company New Parents keep. Both of these cats are a hard-to-define mix of traditional and modern components. The same is true of Transient Response. And to those bitter orphaned critics who are bound (by law) to call this Dad Rock, I would hasten to correct them. It's Mom and Dad Rock, and if you can't dig that, your chances of ever hooking up with a real family are just about nil." --Byron Coley, 2018
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LP
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FTR 361LP
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$18.00
PREORDER
RELEASE DATE: 6/1/2018
"Documentation of a rare summit meet by two of New England's stranger musical figurines, recorded at the Whitehaus in Jamaica Plain, MA back in 2012. The piece was created as a sort of dub battle showdown, with FOOM's turntables and Foam's cassettes & doodads all plugged into a 4 track and lit the fuck up. The jams here are languidly-paced, in comparison to a lot of contemporary assemblage, and the instant compositions unfold in way that puts one in mind of classic work by the L.A.F.M.S. Too often these days, music with some of the same experimental approach as is heard on Foom & Foam is either done at breakneck cartoony speed or stretched out endlessly. And while I like a good head-snapping or an excuse-to-nap as much as the next guy, I prefer it when artists doing abstract work allow you the space to ponder their plunder without making you wallow in it. With that in mind, this album unwraps itself like a precious gift for all to enjoy. By using previously recorded sounds as source, the artists eradicate both the ability and the necessity of trying to identify the instruments or objects producing the noise here. These are just sounds, freed from their original sonic context by the initial act of recording, now existing as naught-but-signals, to be interpreted by our brains as they see fit to interpret them. The F&F duo seem to understand this implicitly. And it allows them to manipulate the surface representations of previously-captured events in ways that recall Dennis Duck Goes Disco (1977), Steve Fisk's 448 Deathless Days (1987) and even Orchid Spangiafora's Flee Past's Ape Elf (1979). These confusional classics are all of a piece with the work here. Timeless beauty. All for less than the price of a good over-the-knuckle leather thimble. I'm not sure what you're waiting for, but get over it." --Byron Coley, 2018 Edition of 450.
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LP
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FTR 367LP
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$18.50
PREORDER
RELEASE DATE: 6/1/2018
"There is something very special about the sound of a bummed-out smart person alone in a room somewhere (studio or not) with just their guitar for solace. Many killer examples of the form exist -- Skip Spence's Oar (1969), Pip Proud's Adrenaline And Richard (1968), Roy Montgomery's 324 E. 13th Street #7 (1999), and so on. All of these records shine with very special darkness. To this list, I submit the new Mazozma LP, Stark Joy. Kentucky ex-pat, Mike Turner has been using this recording handle for a while. We did one previous album with him, Heavy Death Head (FTR 268LP, 2017), and like most of his solo work we've heard, it was a blasted lo-fi ramble through fields of destroyed form. Elegantly crafted, but so utterly fucked-up, it could make you feel dizzy. Stark Joy is a horse of an entirely different color. The music here is song-based, only strange in its detailing, and more straight ahead than any Warmer Milks fan would dare dream. Still, the ineffable Turner genius shines through like a lighthouse in a shitstorm. Recorded on an iPhone, probably nude, Turner's songs here contain a world of folk-longing, played with an all-mid-range approach that broadcasts deep spiritual weariness with the best of them. I could start name-checking the hordes, but I'll spare you. People familiar with Mikey's work will be struck by how straightforward and outright pretty his melodic constructions and guitar figures are. Those who are new to his work will just dig how open the album is. It's the kind of record that gives you a certain amount of comfort if you're wrapped up in your own personal storm. Conversely, if you're feeling good, you can focus on the vaguely upbeat tone that eventually suffuses everything. Having a hard time getting it off the turntable. It's that kind of record. Deeply personal in a certain way, but one which leaves it available to infinite interpretation, depending entirely on the listener. In a word -- interactive. As fuck. Get it today." --Byron Coley, 2018 Co-released with Mystra Records. Edition of 200.
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LP
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FTR 403LP
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$22.00
PREORDER
RELEASE DATE: 6/1/2018
"Mette Rasmussen is a Danish saxophonist, based in Norway, who has been recording with some of our favorite players (Chris Corsano, Alan Silva, Mats Gustafsson, Ace Farren Ford, etc.) She has also formed this duo with Asheville-based guitarist, Tashi Dorji (whose combo, Manas, has had two LPs on Feeding Tube this far: FTR 208LP, 2015 and FTR 330LP, 2017). The duo material for this LP was recorded in Montreal, right around the same time Mette and Tashi recorded a trio set for Trost (with the addition of drummer Tyler Damon). And it's all great stuff. Mette's playing has a raw tonal approach that makes one think of Eric Dolphy at his harshest. Her lines evince much of the same nimbleness as well. The effect is not unlike being hit in the face by a bunch of snakes with wings. Naturally, Tashi is playing electric in order to make himself heard, and the clots of sound he manages to coax out of his amp are worthy of comparison with such form-erupters as Keith Rowe. On the first side, there's a real physicality to the blocks Tashi creates, as well as to the manner which Mette's reed attacks them. It's an incredible sound -- brutal and communicative in equal measures. But as much as this may imply a musical surface akin to that of Borbetomagus, there's a lot more open space here. Especially on the second side, the music is paced to give itself over (now and then) to crenellations that allows in as much light as they emit. This record is a supremely human effort and hopefully the harbinger of much more to come." --Byron Coley, 2018 Edition of 250.
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CD
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FVR 142CD
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$18.00
PREORDER
RELEASE DATE: 6/1/2018
Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started before 2013. Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer, and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label/studio/group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released two albums together, Où es-tu maintenant? (FVR 070LP, 2012) and Le Polaroid (FVR 092LP, 2014), hailed by many tastemakers and meeting notable success in Japan. Following Le Premier Disco Sans Toi (FVR 138EP, 2018), an acclaimed single, unveiling two new compositions with disco flavors, Andre Solomko and Favorite Recordings present Le Deltaplane. Fully composed and arranged by Andre Solomko, the six tracks of the album are deeply infused with his longtime passion for jazz-funk and movie soundtracks, this time also injecting more influences from west coast and modern soul music. Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki. Andre Solomko, an artist who spreads love like in the good old days. CD version includes three bonus tracks.
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LP
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FVR 142LP
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$26.50
PREORDER
RELEASE DATE: 6/1/2018
LP version. Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started before 2013. Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer, and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label/studio/group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released two albums together, Où es-tu maintenant? (FVR 070LP, 2012) and Le Polaroid (FVR 092LP, 2014), hailed by many tastemakers and meeting notable success in Japan. Following Le Premier Disco Sans Toi (FVR 138EP, 2018), an acclaimed single, unveiling two new compositions with disco flavors, Andre Solomko and Favorite Recordings present Le Deltaplane. Fully composed and arranged by Andre Solomko, the six tracks of the album are deeply infused with his longtime passion for jazz-funk and movie soundtracks, this time also injecting more influences from west coast and modern soul music. Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki. Andre Solomko, an artist who spreads love like in the good old days.
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CD
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GB 059CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
When Malian singer and guitarist Samba Touré was planning Wande ("The Beloved"), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. "We had a totally different album in mind," Touré admits, "a return to something more traditional, almost acoustic. I think this album is less dark than the previous ones. It has some sad and serious songs, but it sounds more peaceful. All the first takes have been kept." That spark of spontaneity fires across the whole disc. It was recorded quickly, in "about two weeks, only in the afternoons and with breaks on weekend to play in weddings, so it was very relaxed!" Wande is just as direct and powerful as Touré's previous work, but everything moves with a bright, danceable sensibility. Gone are the intense guitar and ngoni duels, replaced with short, incisive guitar solos and a solid, laid-back groove. Only two songs had been written before going into the studio: the title cut, which is a love song to his wife, and "Tribute To Zoumana Tereta", a memorial to the late sokou fiddle player who often collaborated with Touré. Everything else came together almost on the spot, like the rhythmic "Yo Pouhala", composed one afternoon and recorded the next, or "Yerfara", with an impeccable, chunky rhythm guitar riff to make Keith Richards weep with envy. The emphasis throughout is on rhythm, and the tama talking drum that's always been a feature of Touré's music takes a place near the front of the band. "I've always loved tama, for its sounds . . . It's a symbol of call to reunion." Starting out as a guitarist in a soukous band, everything was altered when he became an accompanist to Mali's greatest legend, the late Ali Farka Touré (with whom his mother had performed). Later, as a solo artist, he's become renowned across the globe for his passionate guitar work and fiery singing, one of the masters of his art. But, Touré says, don't call it desert blues. Don't call it African rock. That's lazy. It doesn't need labels like that. Instead, call Wande the unexpected. Call it joyous. Call it the music Samba Touré is making right now.
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LP
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GB 059LP
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$23.50
PREORDER
RELEASE DATE: 6/1/2018
LP version. 180 gram vinyl; includes download code. When Malian singer and guitarist Samba Touré was planning Wande ("The Beloved"), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. "We had a totally different album in mind," Touré admits, "a return to something more traditional, almost acoustic. I think this album is less dark than the previous ones. It has some sad and serious songs, but it sounds more peaceful. All the first takes have been kept." That spark of spontaneity fires across the whole disc. It was recorded quickly, in "about two weeks, only in the afternoons and with breaks on weekend to play in weddings, so it was very relaxed!" Wande is just as direct and powerful as Touré's previous work, but everything moves with a bright, danceable sensibility. Gone are the intense guitar and ngoni duels, replaced with short, incisive guitar solos and a solid, laid-back groove. Only two songs had been written before going into the studio: the title cut, which is a love song to his wife, and "Tribute To Zoumana Tereta", a memorial to the late sokou fiddle player who often collaborated with Touré. Everything else came together almost on the spot, like the rhythmic "Yo Pouhala", composed one afternoon and recorded the next, or "Yerfara", with an impeccable, chunky rhythm guitar riff to make Keith Richards weep with envy. The emphasis throughout is on rhythm, and the tama talking drum that's always been a feature of Touré's music takes a place near the front of the band. "I've always loved tama, for its sounds . . . It's a symbol of call to reunion." Starting out as a guitarist in a soukous band, everything was altered when he became an accompanist to Mali's greatest legend, the late Ali Farka Touré (with whom his mother had performed). Later, as a solo artist, he's become renowned across the globe for his passionate guitar work and fiery singing, one of the masters of his art. But, Touré says, don't call it desert blues. Don't call it African rock. That's lazy. It doesn't need labels like that. Instead, call Wande the unexpected. Call it joyous. Call it the music Samba Touré is making right now.
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7"
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GET 759EP
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$11.00
PREORDER
RELEASE DATE: 6/1/2018
"By the time the Jungle Brothers rapped about it in 1988, House music had been bumping in NYC clubs for years. Even though the genre would go on to become a global phenomenon, House music had humble beginnings in predominantly gay and black clubs in Chicago. Musically, House music was inspired by the eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at clubs like 'The Warehouse' and 'Muzik Box'. With a growing club scene, labels like Trax Records and DJ International played a major role in the development of the genre. Founded in 1984, Trax was an important outlet for house music in its early days, releasing many classics including 'No Way Back' by Adonis, Larry Heard's 'Can You Feel It,' and the first so-called house anthem in 1986, 'Move Your Body' by Marshall Jefferson. This latter tune gave a massive boost to house music, extending recognition of the genre outside of Chicago. The story behind the making of these recordings, is quite peculiar. 'Your Love' was written Jamie Principle, young Chicago Native with a strict religious family who grew up listening to the likes of pop, gospel, classic and RnB. A talented musician, Principle could play the clarinet and keyboards as well as drums for his local church. His first major relationship with a lady named Lisa Harris inspired him to write 'Your Love' and experiment with home recordings. Although his demo tape was turned down by every New York label that received it, his tape somehow spread like wildfire throughout the clubs of Chicago. Jamie himself never became aware of its popularity due to his strict upbringing and parental ban from nightclubs. Because of its local popularity, the first commercial release of 'Your Love' was produced by Mark 'Hot Rod' Trollan and pressed as a 12" single on Persona Records in 1986. The final - and ultimately definitive -- version was released the next year on Trax Records produced by Frankie Knuckles."
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7"
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GET 762EP
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$11.00
PREORDER
RELEASE DATE: 6/1/2018
"By the time the Jungle Brothers rapped about it in 1988, House music had been bumping in NYC clubs for years. Even though the genre would go on to become a global phenomenon, House music had humble beginnings in predominantly gay and black clubs in Chicago. Musically, House music was inspired by the eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at clubs like 'The Warehouse' and 'Muzik Box'. With a growing club scene, labels like Trax Records and DJ International played a major role in the development of the genre. Founded in 1984, Trax was an important outlet for house music in its early days, releasing many classics including 'No Way Back' by Adonis, Larry Heard's 'Can You Feel It,' and the first so-called house anthem in 1986, 'Move Your Body' by Marshall Jefferson. This latter tune gave a massive boost to house music, extending recognition of the genre outside of Chicago. 'Gotta have House, music, all night long with that House, music, you can't go wrong give me that House, music, set me free lost in House, music, is where I wanna be It's gonna set you free (rock your body)' Part of what made House music so appealing was how democratic it was. Without much recording gear or a studio, anyone could make a song, have their records pressed and played in the same clubs they'd go party. Marshall's story was not that much different but the impact of his early recordings would set the blueprint for many of the artist that came out of Chicago. Jefferson's first tune, recorded in 1986, become the scene's official anthem. In titling it, 'Move Your Body (The House Music Anthem)' it was almost as if Jefferson knew what he was doing. The swing of those opening keys, the deep, anchoring beats and bass and that infectious sing-a-long chorus -- all the key elements for a dance hit were there; more than that, they would be chronicled indisputably as the core building blocks of house. Jefferson culled the song's vocalists -- including lead crooner Curtis McClain -- from his post-office graveyard shift. And, with his lyrics, he helped foment the long tradition of the self-referential track: house music about house music itself. Today we can talk for days about this influential track, however it almost never saw a release. Trax owner Larry Sherman apparently hated the song and had no interest in ever releasing it. Even after Marshall payed for his own pressings, the Trax boss didn't really see any value in that recording. It wasn't until Jefferson handed limited cassettes of the cut to preeminent Chicago DJs Ron Hardy and Frankie Knuckles that a buzz began to spread as far as Ibiza and London for the Chicago House anthem. The record's unprecedented rise soon changed Sherman's thinking, making it Trax Records' first global hit."
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CD
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GR 954CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
Glitterhouse present the live recording of a magic night -- the Dutch/Belgian chanteuse Chantal Acda in a duo-setting with Grammy award winning guitarist extraordinaire Bill Frisell. Captured in superb sound quality. Chantal Acda on the recording: "When I wrote the songs of my record, I dreamt to hear Bill's sounds on it. I thought this feeling would go away but it never did. So I decided to contact him to see if he would work with me and put the last pieces of the puzzle together on this record (Bounce Back, 2017). He liked the music so I flew to Seattle to record his wonderful guitar playing on the songs. Meeting him felt like coming home. And this connection was still so fresh in my memory when I arrived back to Belgium. We kept in touch by writing each other and sometimes he drew me funny faces. We were invited to play at the wonderful Jazz Middelheim festival and finally ended up on stage together. In the dressing room we quickly went through the songs but we kept all surprises for the stage. It was a wonderful experience for me. One of the highlights of my musical career. It wasn't meant to be recorded but it was. So listening back to these recordings we thought it would be nice to be able to share this with the people who were there but also the people who missed it and are curious to hear what happened. I truly hope you will enjoy these moments. These moments that will always stick with me."
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HEIST 001CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
Detroit Swindle present High Life, their second studio album on the duo's own Heist Recordings. The heart of the album was recorded over a three-week period at their Amsterdam studio in March 2017, and the release will coincide with the fifth anniversary of the label. Since forming in 2011, the Dutch duo have carved a unique place for themselves in the scene. Their sound -- which merges references from multiple decades into one smooth aesthetic -- quickly rose to popularity for its careful blend of soul and rhythm, taking cues from their passion for obscure records, with influences ranging from house and funk to Afrobeat and soul. Dynamic live shows and DJ sets afford them a packed touring schedule across the globe, whilst their label Heist Recordings is credited with consistently breaking new artists. High Life explores the intersection of live and electronic music, with much of the improvised material left largely untouched to maintain its organic sensibilities. Detroit Swindle describe the album as an "electronic album with a live approach, combining our love for house, ambient and jazzy harmonics, making it a record interesting for the club, as well as a pleasant album to put on at home." High Life explores stripped back soul and groove driven house over ten glistening productions. Featured on the album are a sun-drenched collaboration with British singer/songwriter Tom Misch and a deep workout with the vocals of trained gospel singer turned house aficionado Seven Davis Jr. on "Flavourism" and Lorenz Rhode who accompanies the duo for their live shows, features on the infectious melodies of "High Life". "Call Of The Wild" incorporates none other than Dutch nine-piece brass band Jungle By Night.
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HH 3097CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
Pharoah Sanders, live from the Juan Les Pins Jazz Festival, Antibes, France on July 20th, 1968. Having made his name playing with John Coltrane as of 1965, Pharoah Sanders soon came to be recognized as one of the most innovative jazz players of his generation. Having formed his own quartet, he was invited to perform at the Antibes Jazz Festival in Juan-les-Pins, France in July 1968. Originally broadcast on French radio station WDR3, this superb recording captures a great musician in his early prime. Includes the entire WDR3-FM radio broadcast is presented here, digitally remastered, with background notes and images. Personnel: Pharoah Sanders - tenor saxophone, percussion; Lonnie Liston Smith - piano; Norman "Sirone" Jones - bass; Majeed Shabazz - drums.
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HH 3102CD
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$17.00
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RELEASE DATE: 6/1/2018
John Handy with his Rainbow Band, live at the San Francisco Great American Music Hall, July 27th, 1979. At the end of the 1970s, jazz saxophonist John Handy helmed an adventurous plunge into world fusion with his Rainbow Band. Featuring Indian music virtuosos Ali Akbar Khan on sarod, Zakir Hussain on percussion, and L. Subramanian on violin, it also included Brazilian guitarist Bola Sete. This San Francisco Great American Music Hall performance from July 27, 1979, was originally broadcast on National Public Radio's "Jazz Alive" program and features a 54-minute performance of a work also titled "Rainbow", composed by Khan specifically for this broadcast. The entire broadcast is presented here, digitally remastered, and includes background liners.
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HH 3111CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
Paul Bley Trio, live at the International Jazz Festival, Lugano, Switzerland August 31st, 1966. The young Paul Bley earned his spurs playing with legends including Charles Mingus, Art Blakey, Chet Baker, Jimmy Giuffre, Ornette Coleman, and Bill Evans. As the 1960s progressed, he increasingly embraced the avant-garde, with arguably his greatest successes coming in the piano trio format. Originally broadcast on the RSI Rete Due radio station in the summer of 1966, this superb set included material by Bley, his wife Carla, Annette Peacock, and Sonny Rollins. The entire broadcast, digitally remastered, is presented here with background notes and images. Personnel: Paul Bley - piano; Mark Levinson - bass; Barry Altschul - drums.
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LP
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HNR 014LP
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$26.50
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RELEASE DATE: 6/1/2018
Rickard Jäverling, born and raised in Borlänge, Sweden and now living and working in Stockholm, is a wayward and productive musician. Besides releasing material under his own name, Jäverling is/has been part of constellations such as Dödens Dal, Liljor, and Jäverling & von Euler. Album 3 is his third solo album. It breathes psychedelia, dub, Swedish folk, "progg", and continental vintage electronic music. The songs on this album are in a way like a compilation of short stories rather than chapters in a novel. The common factor in this album is Jäverling's exquisitely worked-out melodies and the warm, round production but the songs can, due to the rich storytelling qualities of each one of them, almost be regarded as small albums of their own.
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12"
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HOL 115LP
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$25.00
PREORDER
RELEASE DATE: 6/1/2018
Istanbul based multi-instrumentalist Umut Çağlar founded the Turkish free jazz band Konstrukt at the beginning of 2008. Since then the band went through many line-up changes and collaborated with the likes of Peter Brötzmann, Joe McPhee, William Parker, and Keiji Haino, continuously evolving its sound. The band is currently formed by Çağlar, Korhan Futacı, Apostolos Sideris, Erdem Göymen, and Berkan Tilavel and Oryantal -- recorded at Hayyam Studio in Istanbul in 2017 with two drummers and a double bass player on board -- shows a more melodic and groovy side of the band. The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs, and double reeds, trying to carry these sounds to the future with the help of electronics. Edition of 300.
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7"
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HOL 116EP
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
Two short tracks (out of four) taken from the same Hayyam session which gave birth to Oryantal (HOL 115LP). Two funky shots dedicated to the memory of the one and only Ornette Coleman. Some real intense (double) drumming animating a full-band jam on side A, while the B side of the single consists of a nervous duo of saxophone (Korhan Futacı) and drums (Berkan Tilavel).
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7"
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HOL 117EP
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
To be considered a twin release of the previous For Ornette 7" (HOL 116EP). The single consists of two more short tracks -- taken from the same Hayyam session -- where the five-piece goes bebop, building some rhythmic and harmonic complexity filled by solo virtuoso playing of core-members Korhan Futacı (saxophone) and Umut Çağlar (electric guitar).
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12"
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HOW 007EP
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Red hot drum lead track backed by boiling point late night to early morning long haul truck driving or dancing music. The saws and sines have aligned! It's HOW007 time. This release is called The 417. It is three songs by Daniel Savio. This recording was conjured up on machinery people are known to touch and sell. MK1 menu diving desktop stuff. Stuff that is ten years old, stuff that may be older. Stuff that purrs, rocks, bounces, and skates. In 2017 Daniel Savio's "Race To The Bottom" and his Plejjern Från Plejaderna album took Swedish house music by storm.
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12"
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IF 2071EP
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Labelle has laid the foundations of an electronic maloya, modern and deeply rooted in its home territory: La Réunion. Labelle releases a fascinating EP of introspective trance music with Post-Maloya. You'll find the maloya stamp, which is Reunionese traditional music, both in the rhythms and the instruments used, like the valiha. This traditional tubular harp from Madagascar is played by Vola on the track "Jaojoby". Vola was taught by Rajery himself, who is widely considered as a master of this instrument. The hypnotic sounds evoke distant dimensions and resonate like shamanic incantations, gently leading you towards the trance.
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12"
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IRC 138EP
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
The 138th Ibadan Records installment is from Kerri Chandler. Jerome Sydenham and Chandler met in 1991, when Sydenham was a part of the A&R team that signed Chandler's debut single to Atlantic Records. After Sydenham founded Ibadan Records in 1995, the two collaborated on several groundbreaking projects. Chandler's early career evolved through illustrious House remixes and productions. Tracks like "Drink On Me", "Shoe-B-Doo", "While We're Young", and "Ain't That A Bitch" truly exemplify the trailblazing and original innovative spirit of Kerri Chandler and the birth of his signature sound. Features Teulé and Bas Noir.
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CD
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IV 009CD
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$17.00
PREORDER
RELEASE DATE: 6/1/2018
In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient, and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their second full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you've ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons. Features Matthew Herbert, Gudrun Gut, Planningtorock, Jens Kuross (ex-drummer for RyX), and Roedelius.
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CD
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JANUS7E 2054CD
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$14.50
PREORDER
RELEASE DATE: 6/1/2018
Dunedin trio Death And The Maiden return with a second album of hypnotic post-punk dream-pop. Wisteria continues the exploration of the dark bounds between love and death, beauty and decay unveiled on the band's debut (2015). Although the BPM of their shadowy sound world may have increased, the new album seems even more somber than its predecessor, with a deeper undertow of anxiety beneath the slow-motion trance pop. The songs on Wisteria are still anchored by Lucinda King's hypnotic basslines, as her vocals deliver lyrics exploring human experience within natural and unnatural worlds, but this time Hope Robertson's delay and reverb-drenched guitars break free, soaring above the decelerated, minimalist techno sounds of Danny Brady's electronic instrumentation and programmed beats, at times hinting at psychedelic surf music exotica. This unusual combination of techno, post-punk, psychedelia and dream-pop makes the new album from Death And The Maiden another beguiling proposition to explore.
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7"
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JAZZ45 001EP
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$11.00
PREORDER
RELEASE DATE: 6/1/2018
An upbeat positive and spiritual groove paves the way for Jazzman Records' new Jazz45 label. Taken from the forthcoming album Earth from Emanative (JMAN 099CD/LP), with a sublime vocal performance from Ahu. Jazz45 -- Exciting new sounds from the world of independent and creative jazz artistes. Original artwork and original music on each and every release, and limited to just 600 copies worldwide.
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LP
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JBH 070LP
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$27.50
PREORDER
RELEASE DATE: 6/1/2018
Subtitled: ... That We Are Not Allowed To Mention For Legal Reasons. Rare and brilliant music as used in the late 1960s amazing animated series we are not allowed to mention for legal reasons. And the same music was used in all the NFL clip shoes throughout the '60s and '70s too. Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue-and-red dressed character that had originated in 1962, through Marvel Comics by Stan Lee and Steve Ditko. This amazing series ran on ABC TV in the USA, then Canada, then a few years, it ran in the UK. The series was notoriously low budget. After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat (1972). Krantz also slashed the already cripplingly small spider budget and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent production turned to the KPM catalog. This was one of the few really established library catalogs around at the time with a modern edge; it was full of fabulous, modern dramatic music tracks -- often all on the same LP. But more importantly all the tracks were far longer than the one-minute musical cuts that many of the fledgling USA library companies were issuing at the time. Krantz produced two amazing spider series, and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground. For many enthusiasts this really is formative music -- a junior foray into hip swinging crime jazz and esoteric musical grooviness. So, what features on this Spider-Jazz LP? Well it's music from the amazing TV series, but, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across the episodes. It's all distilled down into one exciting and enthralling LP. Features Syd Dale, Johnny Hawksworth, Bill Martin/Phil Coulter, David Lindup, Johnny Pearson, Keith Mansfield, and Alan Hawkshaw.
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12"
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JT 021EP
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
Milan-based collective Just This present the Absolute Infinity EP, a joint release from Netherlands-based producers Sinfol and Octual. Featured in this package are two remixes from Gerd Janson prescribing a heavy dose of acid. Title track is a stripped back groove with a looping synth lead that wanders through ricocheting drums. For his first remix Gerd muffles the framework of the original, making room for a floating melody and warm lead, whilst the "Acid Only" version takes the components of the original and throws them into a bath full of acid. "Wire" is a moody dancefloor cut for the after-hours.
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K 096LP
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$33.00
PREORDER
RELEASE DATE: 6/1/2018
Red Brut is the moniker of Marijn Verbiesen (part of Sweat Tongue and JSCA). As Red Brut she is isolated, displaying a highly talented ear for day-to-day sounds, musique concréte composition, and spontaneous sound collage. The Kraak record series -- documenting off-stream's currents -- presents her self-titled debut, recorded at home and re-arranged in the come-down of an immersive tour in Japan. The seven chapters document an intuitive and reflective journey through sensitive amateurism and hi-end musique concréte. The main instruments are cassettes, but unlike the continuous strain of post-noise releases, Verbiesen's music is highly personal, subtle, and displays an ever curious and astonished mind. Sounds of gaming interweave with brutal synth oscillations, melancholic melodies, and sensual-absent poetry from the aether. Although rooted in the sinister absurdism of early 2000 experimentalism, her music embraces and redefines the concept of "music of the universe", coined by John Cage, Daphne Oram, and alikes. This stand-out record is a sketchbook documenting a wide array of obscured emotions, unveiling the inner soul of a highly talented and unique voice in avant-garde tape music. Artwork by Marijn Verbiesen; design: rr-jw. Edition of 300.
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12"
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KHEMIA 009EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
Clear vinyl limited edition. The fourth and final edition of the Magnum Opus series titled Rubedo Edition features two striking new remixes of previously released tracks by Schwefelgelb and Blind Delon. Schwefelgelb's Fokus gets the caustic treatment trom SARIN, replete with off-kilter, catastrophic sonics and annihilating beats. On the lunar side HIV+ contributes an intense, menacing vocal line to the epic synthcore grind of Blind Delon's Fuzz.
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12"
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KI 014LP
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$17.50
PREORDER
RELEASE DATE: 6/1/2018
Ki Records welcome Stimming to the label family. Martin Stimming is well known for his releases on labels like Diynamic and Pampa and his live shows around the world. Here's the new EP, Die Luft, Der Garten Und Das Meer ("The air, the garden and the sea"). Few people bring a truly original sound to house music. Stimming's productions are decorated with his own unique, charismatic field recordings, and he never uses the same sample twice.
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12"
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KYN 009EP
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$14.00
PREORDER
RELEASE DATE: 6/1/2018
Japanese sound sculptors Steven Porter (aka Katsunori Sawa and Yuji Kondo) sign two striking productions to Kynant, with a pair of remixes completing the Reservoir EP. "A Need For Distance" is abrasive and hard-hitting but not without moments of melody. Fellow Japanese purveyor of tripped-out techno Iori mines a lean, highly-effective groove on the remix. "Romance Tip" takes a slower, endlessly-detailed approach with sharp percussion and mind-bending atmospherics; Max Durante, who recently released his debut LP on Kynant (KYN 008LP), contributes a broken-beat workout to finish the record. Mastering by Giuseppe Tillieci, aka Neel.
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CD
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LAM 006CD
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$15.50
PREORDER
RELEASE DATE: 6/1/2018
In 1977 The Congos linked with Lee "Scratch" Perry at The Black Ark Studio to record their debut album. They made the masterpiece Heart Of The Congos and it became one of the best roots reggae albums in history... When Blood & Fire reissued Heart Of The Congos, Bregt "Puraman" De Boever found this album and was struck by its magic and mysticism. He began to sing along and was inspired to start his own reggae band Pura Vida. At the same time, he started to build his studio The Lost Ark Studio with the guidance of DJ Crossfire. When Pura Vida's debut Struggle In The City was released in 2009, Puraman met The Congos backstage at a show in Ghent. They liked the sound and invited Puraman to come to Jamaica. Puraman stayed for two weeks with Ashanti Roy in Kingston and the plan for an album was made. One year later We Nah Give Up was released marking the birth of the Belgian roots musik label, Lost Ark Music. The link with The Congos stayed and Ashanti Roy became the godfather of Lost Ark Music. He guided Puraman and his brother Maarten to build up the label step-by-step. Lost Ark Music released two albums with Ashanti Roy and Pura Vida, Hard Road and Step By Step, and Pura Vida did some magical live shows with Ashanti Roy. In 2014 Puraman met his idol Lee "Scratch" Perry and they made The Super Ape Strikes Again together. The ark was no longer lost and Puraman moved to a new studio, The Last Ark Studio. Puraman kept on recording with The Congos and is planning new releases. The album is called Morning Star and is a combination of the sound of The Congos and the Pura Vida Sound. It features six new Congos songs, three songs from Pura Vida, and a dub version called "Dub Love". The album has the vintage Last Ark Sound and was mixed the old school way using the mixer as an instrument. It features the voices of Roydel "Ashanti Roy" Johnson, Cedric Myton, Derrick "Watty" Burnett, Kenroy "Tallash" Fyffe, and Bregt "Puraman" De Boever. There is also a guest appearance by Leroy "Horsemouth" Wallace, the famous reggae drummer and movie star, one of Puraman's favorite reggae drummers.
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LP
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LAM 006LP
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