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forthcoming releases available for pre-order
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How preorders work: FAQ
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2CD
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AGMR 051CD
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$16.00
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RELEASE DATE: 5/27/2022
In 2011, Gazelle Twin self-released The Entire City, a debut album that gathered rapid acclaim and sparked a decade of creativity during which its creator, Elizabeth Bernholz has built big upon her foundation of dark, cinematic energy. The album is now set to be reissued, together with The Wastelands (AGMR 052LP), a mini "twin" album of material made around the same period, though never released commercially. Where The Entire City remains intact with its original master and track listing, The Wastelands expands on this shadowy, future-scape, featuring foreboding, percussive songwriting, with euphoric choral swells. The release features the captivating photo collage artwork of British artist, Suzanne Moxhay.
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LP
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AGMR 051LP
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$29.50
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RELEASE DATE: 5/27/2022
In 2011, Gazelle Twin self-released The Entire City, a debut album that gathered rapid acclaim and sparked a decade of creativity during which its creator, Elizabeth Bernholz has built big upon her foundation of dark, cinematic energy. The album is now set to be reissued on deluxe silver grey vinyl featuring the captivating photo collage artwork of British artist, Suzanne Moxhay, with newly designed artwork by Paul Agar and Gazelle Twin.
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LP
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AGMR 052LP
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$24.00
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RELEASE DATE: 5/27/2022
The Wastelands is an album of material made around the same period as The Entire City though never released commercially. The album expands on The Entire City's shadowy, future scape, featuring foreboding, percussive songwriting, with euphoric choral swells. The Wastelands also features the captivating photo collage artwork of British artist, Suzanne Moxhay. Translucent yellow vinyl.
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12"
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ANIMALS 010EP
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$17.50
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RELEASE DATE: 5/27/2022
Twisted percussion-forward kosmiche club brilliance from Düsseldorf's Niklas Wandt. Stepping cosmic house, new beat hypnotism, tribal piano breakdown madness and wavey vocoded synth make up the four track EP for the Animals Dancing imprint's first release of the year.
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10"
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AUK 047-10
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$14.50
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RELEASE DATE: 5/27/2022
To coincide with the Brian Jonestown Massacre's start of their 2022 North American tour with special guests Mercury Rev this is a release of two new tracks by the band. Recorded in Berlin and remotely between 2020-2021, the opening track "The Real" is from the forthcoming album Fire Doesn't Grow On Trees. The second track "Where Do We Go From Here?" is exclusive to this release. Anton Newcombe (vocals/guitars), Ryan Carlson Van Kriedt (keyboards), Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), and Uri Rennert (drums) play on this offering. It is 30 years since the release of their first single She Made Me/Evergreen. Released in 1992, the band continue to deliver the sound of the Brian Jonestown Massacre. Cover artwork by Anthony Ausgang.
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10"
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AUK 047B-10
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$14.50
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RELEASE DATE: 5/27/2022
10" vinyl version. White vinyl. To coincide with the Brian Jonestown Massacre's start of their 2022 North American tour with special guests Mercury Rev this is a release of two new tracks by the band. Recorded in Berlin and remotely between 2020-2021, the opening track "The Real" is from the forthcoming album Fire Doesn't Grow On Trees. The second track "Where Do We Go From Here?" is exclusive to this release. Anton Newcombe (vocals/guitars), Ryan Carlson Van Kriedt (keyboards), Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), and Uri Rennert (drums) play on this offering. It is 30 years since the release of their first single She Made Me/Evergreen. Released in 1992, the band continue to deliver the sound of the Brian Jonestown Massacre. Cover artwork by Anthony Ausgang.
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LP
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BALMAT 003LP
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$28.00
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RELEASE DATE: 5/27/2022
Following her debut album, I'll Look for You in Others (Past Inside the Present, 2022), Patricia Wolf joins Spain's Balmat label with See-Through, her second album. See-Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I'll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth. She wrote and recorded many of the album's songs quickly, in preparation for an August 2021 broadcast on the online radio platform 9128 Live. Excited for the opportunity to play live after more than a year of the pandemic, Wolf decided to write all new material for the event, working with a lean setup of Octatrack, Roland Synth Plus 10, Make Noise 0-Coast, and Novation Summit. (In fact, Wolf was the first sound designer invited to create patches for the Summit.) She also picked up an acoustic guitar that her brother had loaned her. "Woodland Encounter", "Under a Glass Bell", "The Grotto", "The Mechanical Age", "The Flaneur", and "Psychic Sweeping" are all products of those sessions; the through line holding them together is their exploratory spirit and clarity of vision. Other songs, like "A Conversation With My Innocence", "Recalibration", and "Psychic Sweeping", wrestle with the traumas of the preceding year. Though they may linger on the heaviness of loss, Wolf says, "What I discovered is that a stronger archetype had grown inside me to steer my emotions and thoughts to a better place." Likewise, "Wistfulness" and "Upward Swimming Fish" -- her first experiments with VST synthesizers -- balance the bittersweet embrace of melancholy with the freedom to choose happiness. "Pacific Coast Highway", the album's lone song with drums, might at first seem like an outlier. But it also signals Wolf's interest in finding a fusion between the introspection of ambient and the togetherness of beat-oriented music. Listeners with keen ears might recognize the album's closing song, "Springtime in Croatia": A different mix of the song originally appeared on the 2021 digital compilation secondnature & friends Vol. II, from the Seattle label secondnature. This marks its first appearance on vinyl, however, and its spiritual home is undoubtedly here, at the close of See-Through.
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LP
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BANG 152LP
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$27.00
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RELEASE DATE: 5/27/2022
Spearheaded by twisted Australian guitar legend Stu Spasm of Lubricated Goat, Crunt, and The Beasts Of Bourbon, The Art Gray Noizz Quintet were originally formed for an afterparty celebrating the New York City premiere of Amphetamine Reptile documentary The Color Of Noise. "It was obvious I must assemble a supergroup of the finest noise rockers New York City had to offer," says Stu Spasm. First choice was basher extraordinaire "Bloody" Rich Hutchins, veteran of such explosive musical exports as Live Skull, Of Cabbages And Kings, and Ruin. Next, Skeleton Boy of Woman was recruited. "Who, just as Leadbelly was the king of the twelve-string guitar, is himself the king of the two-string bass." Then came the twang, with the addition of suave slinger Andrea Sicco of Twin Guns. "When our guitars merge, it forms a most piquant aural mélange." In a nod to the latter half of his birth name, Stu Spasm now became Art Gray, and an entirely new mess was born. The Art Gray Noizz Quintet have recently been witnessed onstage opening for kindred spirits such as The Scientists and Mudhoney, and 2019 saw them survive a successful tour of the West Coast. Catching the eye of no wave queen Lydia Lunch led to teaming up for a collaborative musical effort, and sharing a few stages including bookending the pandemic, with one of the last shows of 2020 NYC before lockdown hit, and a triumphant return to the boards in July 2021.
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2LP
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BANG 158LP
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$38.50
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RELEASE DATE: 5/27/2022
For the first time on vinyl, the one considered by many as Nikki Sudden's best album ever Red Brocade, originally released in 1999. Featuring members of Jacobites, The Chamber Strings, Wilco, etc. In 1997, British musician Nikki Sudden traveled to Chicago to work with The Chamber Strings. While there, the two parties realized that they were creatively simpatico, and soon began work on an album, a baker's dozen of thoughtful, occasionally introspective, and superbly written songs, which would appear in 1999 as Red Brocade. It's mellow singer-songwriter fare, some might call it "alt country", and that Wilco's Jeff Tweedy pops up here should give you a sense of what you're getting, as sonically, all the songs here could have been Wilco tracks. Released under license from Easy Action Records, UK. The original album released on gatefold cover double LP with inner sleeves, remastered and with liner notes by Kevin Junior (The Chamber Strings).
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2LP
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BEC 5610510
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$32.00
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RELEASE DATE: 5/27/2022
The psychedelic French garage duo The Limiñanas and German-French music composer and sound engineer David Menke wrote two original soundtracks together for documentaries. The Ballad Of Linda L for the Arte eponymous documentary about the life of Linda Lovelace. And The Devil Inside Me for the Netflix series Monsters Inside: The 24 Faces Of Billy Milligan. 100% new music, fuzz guitars, and garage rock. This release collects the two OSTs. Gatefold sleeve.
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LP
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BJR 025LP
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$28.00
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RELEASE DATE: 5/27/2022
2018 release. Altın Gün offer an exciting mix of Turkish folk, psychedelia, funk, and rock. After performing in Istanbul with Jacco Gardner, bassist Jasper Verhulst became fascinated by the Turkish sound of the '70s. At that time, artists like Selda, Barış Manço, and Erkin Koray combined traditional music with western rock influences. Along with bandmates Ben Rider (guitar) and Nic Mauskovic (drums), Verhulst searched for Turkish musicians to revive this sound. They found Merve Dasdemir (vocals) and Erdinc Yildiz Ecevit (vocals, saz, keys) through Facebook. Jungle by Nigaht's energetic percussionist Gino Groeneveld joined the group and the band was complete. Altın Gün play songs from the aforementioned artists from the '70s and their lesser-known contemporaries and also make their own arrangements of Turkish traditionals. This way, different worlds meet and form a refreshing danceable sound.
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LP
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BJR 041LP
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$28.00
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RELEASE DATE: 5/27/2022
"The worst madness to be wise in a mad world" chant Hyperculte in their second album Massif Occidental, true musical liberty cry, happy and wild. The duo, formed by the cream of Genevan experimental scene -- Simone Aubert in drums, guitar, and vocals, and Vincent Bertholet in double-bass and vocals -- follows its crazy procession in a chaotic word to carry you away in its disco, pop, kraut, punk, and post rock trance. Sharped rhythmic, composition inventiveness, poetic and committed lyrics, the eight songs of the album, written from musical improvisations, from pieces of literary texts and politic slogans, give evidence of the decided and sharped look of the two musicians about our time. The instruments and voices (a worked feminine singing and a masculine scansion more brutal and spoke) full of various effects and distortions, discuss, play and answer each other. Recorded in Hambourg, in Felix Kubin's, To Rococo Rot's, Faust's, etc. studio which gives all the songs a sharped electro-pop touch, the album sounds like shot at glory, a poetic resistance appeal for an "army of dreamers". Between idealism and pessimism, joy and urgency, Hyperculte confirms their debuts and shows their own madness with a Massif Occidental firmly invincible.
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BPX 020LP
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$28.50
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RELEASE DATE: 5/27/2022
"I follow the golden stream..." sings Rosa Anschütz in the title track of her new album, in a cold, clear, determined voice. Underneath, golden interference buzzes and splashes at first, while cold light lies over the "thick water". Followed by powerful beats setting in as the trumpet fanfares of the chorus herald victory over the elements. Golden Stream is second album of the 24-year-old artist, who lives in Vienna and Berlin -- an amazing work. It can be danced to, but one can also listen to it as a conceptual album; it is as full of beats as it is full of thoughts. Rosa Anschütz plays piano, flute, and trumpet, she worked a lot with modular synthesizers in the beginning of her career. Her musical awakening experience was the Atonal Festival in Berlin, later she also danced a lot at Berghain, and Berghain DJ Max Kobosil remixed her song "Rigid". Rosa Anschütz reinforces her enormously versatile vocals -- ranging from a pleading breath to a cold new wave speaking voice -- with a relentlessly marching four-to-the-floor techno; but underneath it all, lay polyrhythmic deviations again and again. Clattering and trembling, deep basses digging into the ground, while shimmering veils of sound blow from above. Rosa Anschütz follows the traditions of dark wave and post punk, but carves deep notches of sound sculpture and romantic smoothness. Goldener Strom is a great pop album, full of melodies, aphorisms, and beats that immediately catch your ear. At the same time, it is a manifesto of artistic sovereignty -- precious and wise in our times of streamlined art. Includes lyrics sheet.
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LP
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BR 157LP
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$30.50
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RELEASE DATE: 5/27/2022
Gurun Gurun is made up of Tarnovski, Tomás Knoflíček, Federsel, and Ondřej Jezek who took their name from the fictional planet in the old school Slovak children's TV show She Came Out of the Blue Sky. Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe. This new album, Uzu Oto, featured the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa, was also created in concert -- each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of the common conception of time, the history of the new recording reaches back to before their previous record, Kon B (HOMEN 074CD, 2015). Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire. Mixed by Tarnovski. Mastered by Jezek. Artwork by Petr Válek. Edition of 300.
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LP
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BTR 052LP
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$24.00
PREORDER
RELEASE DATE: 5/27/2022
Batov Records presents a full-length foray into the musical world of Italian producer and multi-instrumentalist Ayala, with particular emphasis on his love of African music, from Afrobeat to disco. Whilst earning the support of leading DJs such as Colleen Cosmo Murphy, Dave Lee, Danny Tenaglia, J-Kriv, and DJ Rocco, Ayala has built an increasingly visible profile producing and DJ, with releases across a wide range of prolific labels, such as Compost, Hector Romero's Latin freestyle label, Orianna, and leading Italian label, Rebirth, early supporters of the likes of Tensnake, Motor City Drum Ensemble, Soul Clap, Jimmy Edgar, and Deetron. Previous to Views, Ayala worked closely with the likes of Hector Romero, remixing jazz sensation Web Web, and receiving the remix treatment himself from cosmic disco legend, Daniele Baldelli, NY party starter Nickodemus, and Italian stalwart Musumeci. Now Views sees Ayala heading deep within, into his primary loves, Afrobeat and African funk, evolving a warm and organic sound, irresistible to the ear, soul, and body. Views opens proceedings with the Afrobeat funk of "Caravan", which as Ayala remarks, "highlights the value of organic improvisation combined with groove." However, Ayala's Italian sensibility comes into play on "Adrian". For Ayala, this song feels like "an intrusion of African grooves into Italy's obscure '70s disco", offering a "feeling like smoking cigarettes and drinking champagne in a night clubin Rome." It's not all floor-filling bangers on View. The deeper side of the album is best exemplified in "Fuse". A full-bodied slow-groover, the steady Afrobeat rhythm, and bassline are complimented by laidback horns and synths. In this, his first full-length, Ayala doesn't disappoint as he looks deep within to create a new vision, fusing his musical passions and roots with an underground Italian club sensibility. For fans of: Kruder & Dorfmeister, Funky Jaws, Captain Planet, Gerardo Frisina, Nicola Conte & Gianluca Petrella, BOSQ.
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2LP
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CMR 019LP
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$36.50
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RELEASE DATE: 5/27/2022
Double LP version. After composing for cinema, theater, multi-platinum French rap singles and French chanson albums, Gabriel Legeleux, aka Superpoze, continues his journey with electronic and instrumental music. He expands his intimate and singular work with a third dense and extensive album, where strings, flutes, and choirs join his trusty synthesizers, pianos and percussions.
"Nova Cardinale is an album conceived as a world rather than a story. A place made of sounds in which one can find a path, get lost or stay still and observe the surroundings. An album in which the tracks live on a grand scale, ranging from intimacy to emphasis. An album with perspective and vanishing points. It was an intimate and sensitive writing work, and also a real technical work of sound and production. Listening to the album, these two aspects seem to me indissociable today." --Superpoze
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12"
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CMSR 006EP
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$19.00
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RELEASE DATE: 5/27/2022
Rare trance/ambient house reissue from French label Cosmocities Records -- including a remix from S.O.N.S. under his SYO moniker. Fruit of '90s cross-channel outfit Prism, the collaborative endeavor of French producer Pascal Eloy and UK-based Grant Wilkinson, the three-track EP mixes unreleased music ("Refraction"), a 1996-issued goodie ("Rain") and an exclusive remix from SYO, better known for his ambitiously retro-futuristic output under the S.O.N.S moniker. Originally released as part of Planet Dog's 1996 compilation "Feed Your Head", "Rain" retains all of its original mystique and soulful use of modern production tools -- letting a cascading flow of arpeggiated synths, stealth bass onslaughts and 303-borne trippiness pour down as a fully immersive digital shower for the senses. An unheard gem from the vault, initially written and recorded in 1995, "Refraction" pulls further dynamic traction from a bubbling drum programming and damp, urban jungle-y atmosphere -- beaming you straight back in the rave's most compelling heyday with its feverish maelstrom of fluttering bleeps, spiraling tribal motifs and faux-organic, Neo-Easternmost harmonics. Adding his ever-innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar. 25 years on since it was first designed, Prism's lasting relevancy shines bright on this all-road, bold-to-the-full trance epic that's lost nothing of its flair.
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CD
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CSR 312CD
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$15.50
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RELEASE DATE: 5/27/2022
For his first release since 2017's Death Has No Companion (CSR 227CD), Christopher Walton (ex-Endvra), a thirty-year veteran of industrial music, has dragged TenHornedBeast back to its pounding doom-ambient roots and recorded his darkest album yet, as a sonic veneration of a medieval sculpture depicting the torment of the damned in hell. In the crypt of York Minster, built directly on the site of the Roman citadel, is the Doom Stone. A relic from the 12th century the stone, carved in deep relief, illustrated for a medieval audience the horrors that awaited sinners in hell. Figures depicting luxury and avarice are licked by flames, leering demons hold a tortured soul in a furnace and the mouths of hell gape, their nostrils licked by toads. Here beneath one of the jewels of western Christendom is a talisman so shocking, so contrary to the modern mind that the very faith that created it has abandoned it. The five suitably monolithic pieces on The Lamp Of No Light (Hymns For The Yorkshire Doom Stone) form a journey, starting with the first mortal death and ending with the second eternal death of the soul. Walton has used the darkest textures and heaviest drones as way-markers on this journey, as hymns to exalt the scenes shown on the stone. "TenHornedBeast is a vehicle for the sinister current that is woven through life. If Christ is the Light of the World and hymns are sung to him in the Minster then my hymns should be heard in the crypt, where the Doom Stone radiates its No-Light. Without darkness, the light is meaningless." Six-panel digipak with photography by the artist.
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4x12"
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DGTL 020LP
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$54.00
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RELEASE DATE: 5/27/2022
DGTL Records -- the official label arm of Dutch festival giant DGTL -- marks its fifth anniversary in style with brand new album 5YRS of DGTL Records. The 14-track long player is released as a 4x12" vinyl set. 5YRS of DGTL Records is a perfect reflection of not just of the label itself but also its global event patron: headliners sitting equally alongside local talent and up-and-coming acts. Holding a great variety of forward-thinking house and techno, the label stays true to the same formula of the festival shows. Over the past five years, DGTL Records has grown into its own as a fully-fledged musical arm of the overall DGTL musical experience, introducing new sounds and acts to an international audience. For promising Dutch DJ/producers Coloray, Tjade, Nicky Elisabeth, and Lucky Done Gone, this will be their first release on DGTL Records, while the likes of Deniro and JP Enfant are already familiar names to label fans, having previously released EPs on the label. All are linked to promising rising international talent such as Jimi Jules, Kino Todo, and TERR and to DGTL "veterans" such as Adriatique, Dax J, Roman Flügel, and Frank Wiedemann & Trikk, who have been part of the DGTL family for years. Presented in a tri-fold cover, the LP will feature artwork by Eric Smilde, who has incorporated the distinctive elements of DGTL festival at the NDSM Docklands into a 3-D design. Known for its sustainable ambitions, DGTL continues along that path with this vinyl release, choosing to work with Deepgrooves, the world's greenest vinyl pressing plant thanks to their innovative and leading working method. Also features Mano Le Tough, TERR / Daniel Watts / Johann Heyss, and Kino Todo / Danelz.
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2x12"
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DIYNAMIC 143EP
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$23.50
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RELEASE DATE: 5/27/2022
The new Diynamic release is simultaneously a jubilee, as Johannes Brecht is hosting the tenth edition of the Picture. The Picture series of Diynamic is a document in time, showcasing an artist's current creative output in order to allow the listener to visualize and understand the artist in a certain period. It is a mini-album with various dancefloor-oriented factettes of one producer, shaping the imagery that ultimately results in the listeners' mind. If you are familiar with Johannes's work, which is deeply rooted in jazz and classical music, you can expect this 4/4 electronic record to be as analog as you can possibly imagine, with sonic textures ranging from vigorously raspy to velvety smooth -- so vivid you can almost feel them with your fingertips. This organic feel has always been a focus and forté of Johannes's -- using analog synthesizers and hardware instead of relying entirely on a DAW; recording live orchestral instruments, played by humans (mostly himself), instead of programming midi notes on VST plugins. It's this attitude that makes his sound so rich and vivacious. Features Kat Vinter and Fetsum.
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LP
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DRUNKEN 146LP
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$26.00
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RELEASE DATE: 5/27/2022
Originally released on their own Stiff Records in 2017 (and again by Legless in 2020), Stiff Richard's self-titled lays down all the elements that made 2021's mighty State of Mind LP (DRUNKEN 134LP) such an instant classic. Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It's a full-on riot in 30 minutes -- the rawest of rock n' roll bleeding into the grimiest of power chords with hooks for days. You already know you're gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping -- like on sub-three-minute highlight "Strung Out" -- or sludgin' their way through groovier cuts like "Bustin' Out", they're never less than a treat that's guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond).
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LP
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ELPALMAS 020LP
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$34.00
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RELEASE DATE: 5/27/2022
El Palmas Music present a reissue of the second album from Venezuela's Los Calvos, ... y Que Calvos!, originally released in 1968. This second and lamentably final album found the group creating a signature sound with the musicians given free rein and a stronger push to the dance floor, this is música bailable personified. The drum kit was instrumental to their image and sound; it was an instrumental unusual in salsa at the time. So much so that their own drummer Frank "Pavo" Hernandez had said disparagingly that "salsa with a drum kit is like pasta with avocado". Kudos then to "Pavo", along with fellow drummer Alfredo Padilla, who seamlessly integrated the instrument into the line-up, allowing its heavy hits to add energy and power to the group's sound. Vocal duties throughout are split evenly, five tracks a piece in fact, between Carlos "Carlín" Asicio Rodríguez and Carlos "Calaven" Yanes. It is Calaven who surprises the most, his mischievous delivery and ability to improvise and scat placing him in the higher echelons of vocalists, and not just within salsa. "José", which is also a showcase for bandleader Ray Perez to free wheel on the piano, is a perfect example of Calaven's ability to enliven any descarga (jam) with unexpected vocal turns; but then, even on the album's original single "El Moño De Maria" he shows that with a few variations on the chorus, he can elevate any song. His partner in vocals, Carlín, is no slouch either, leading the driving "Tiene La Razón" with ease and showing that he can get down and dirty on the percussion-heavy "El Tumbeleco". Perez was one of Venezuela's finest bandleaders, also helming the legendary Los Dementes, Los Kenya, and others, and he brings a number of famous friends and allies to the party. Professional lucha fighter turned composer Gustavo "El Chiclayano" Seclén contributes the playful "El Marciano y Yo" ("The Martian and Me"), which allows Calaven plenty of opportunity to improvise, his imitations of intergalactic beings a wonderful thing, with what sounds like the rim of a wine glass being used to create Mars-esque special effects. You can also hear Perucho Torcatt, a regular collaborator of Ray Perez's in Los Dementes, adding his voice throughout the album. ... y Que Calvos! is not for the idle, it's an album which does not allow you to sit down. Powerful, inventive, and abundant of rhythm. A lost salsa classic.
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EPR 066LP
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$29.50
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RELEASE DATE: 5/27/2022
After three albums based purely on synthesizers, the Danish duo Videodrones take a leap by adding live drums and guitars to their latest album. A natural step, considering that Jakob Skøtt, one half of the duo, spends his time drumming in Causa Sui, as well as a slew of jazz-infused projects on El Paraiso Records. All basic tracks were recorded in an improv session at Jonas Munk's studio in Odense, capturing both synths and drums live. The expansion of drums adds a natural '70s groove, maintaining a spontaneous vibe that also soaks into the analog synths of modular wizard Kristoffer Ovesen. The improvised sessions were later honed, edited, and layered, bringing forth the best of both spontaneous ideas, as well a multi-dimensional approach bringing a new depth to Videodrones' extensive cinematic undercurrent of sounds. With the addition of echo and reverb drenched guitars, the duo is tapping into sounds in new realms yet strangely familiar. After The Fall may conceptually nod it's head towards a gloomy state of affairs, but akin to the Italian post-apocalyptic movies of the '80s, doomsday never felt this heady and funky before.
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LP
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ETAT 016LP
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$29.00
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RELEASE DATE: 5/27/2022
"Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. LAFMS primarily reached outside Los Angeles via word-of-mouth and the United States Postal Service, foreshadowing the self-publishing and cassette trading networks of post-punk and industrial subcultures. In 1976, Joe Potts solicited recordings from LAFMS affiliates and admirers to edit and compile I.D. Art #2, utilizing correspondence art's technique of 'assemblings.' (The first installment in this series was a magazine, and the third was a coloring book.) Potts received dozens of pieces by members of Le Forte Four, Doo-Dooettes, Smegma and Ace & Duce as well as painters, filmmakers and non-artists with few recording credits to their name, creating a delirious, winking sound-art collage of field recordings, voicemails and improvisations. Participants purchased time on the record and received one copy each of the finished LP, realizing the philosophy contained in LAFMS' motto: 'The music is free, but you have to pay for the plastic, paper, ink, glue and stamps.' This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert."
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2LP
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ETAT 017LP
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$34.00
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RELEASE DATE: 5/27/2022
"Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Live At The Brand documents the second performance of newly formed LAFMS core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight. The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes -- Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen -- performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be LAFMS' third release. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts."
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LP
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ETAT 018LP
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$29.00
PREORDER
RELEASE DATE: 5/27/2022
"Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. In 1977, LAFMS released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early LAFMS recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and 'unknown artist' (as the credit for more than one piece reads). The Residents, showing their affinity with LAFMS, contributed 'Whoopy Snorp' for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating LAFMS affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-70s art practice and outsider music, then look no further. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts."
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LP
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ETAT 019LP
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$29.00
PREORDER
RELEASE DATE: 5/27/2022
"Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambi and Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes. This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert."
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LP
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ETAT 020LP
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$29.00
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RELEASE DATE: 5/27/2022
"Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhite and Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space. The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde -- such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan -- feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands. This first-time reissue is limited to 500 numbered copies. Comes with poster."
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12"
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EYE 016EP
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$18.00
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RELEASE DATE: 5/27/2022
The eagerly anticipated second remix package of André Hommen's More Than This album is set for release on his These Eyes imprint. Following the Remixes Pt. 1, featuring Robag Wruhme and Jonathan Kaspar, André recruits heavy-weight's Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer's remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur's remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it's easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.
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LP
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FD 062LP
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$21.50
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RELEASE DATE: 5/27/2022
Batsaykhan is the rebirth of the first project to ever release on Favela Discos, only a few hours after the label's blogspot was put online back in 2013. Formerly known as Batsaykhantuul, Batsaykhan is not only one of Nuno Oliveira's alter-egos but also something between a science fiction character and an ancestral spirit doomed to wander the earth in an apparently human physical manifestation. The first album, Maestro Ir Noras, is a small and simple collection of tracks featuring only guitars and other stringed instruments, the second, being even smaller (only a single track) already seemed to lead us on through the psychedelic desert that would define the sound of the project. After a long hiatus, Batsaykhan finally emerged from the drawer, or maybe it was from the desert, only to reveal that he had shape-shifted, now taking the form of a trio. With the help of André Azevedo and Tito Silva, Nuno started working on old demos of unpublished compositions and adapting them to the new formation. The trio started the process of refining the songs and the sound of the record, using only a strict selection of synths, percussions, bass, and guitar. They ended up settling down on a terrain of moving sands for those who feel the need to define their sound, between a forest of psychedelia, a river of ambient and the obvious desert that has buried the guitars under its "western" sand. Batsaykhan's self-titled release, and the project's first long play will finally unveil itself with design and artwork by Rita Laranja.
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LP
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FD 063LP
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$21.50
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RELEASE DATE: 5/27/2022
Bezbog is a duo formed in 2013 by David Machado and Dora Vieira. Since their first release in 2014, the self-titled Bezbog EP, they have been exploring both acoustic and electronic instruments to create music that lives somewhere in between genres, styles, doctrines, and musical cultures. Alongside many underground venues throughout Portugal and Spain, they have shown their work in festivals such as No Noise, Milhões de Festa, Out.Fest, and TESLA at the Castile, and León Museum of Contemporary Art, and other places such as the Serralves Museum in Porto and MK Gallery in the UK. Their latest long player takes its name from the solar deity of the Slavic pantheon, Dazhbog -- the god that gives, and its idea flows into the concept of this record, through the themes of life, light and darkness, birth and rebirth, and the idea of the omnipresent cycle. You can find cycles in nature, music, and life itself can be thought of as a cycle, from the micro to the macro scale. As they seek to embed their music with these ideas, in a way, their music becomes new sacred music, the music of modern pagan rituals. While Bezbog's music seeks to replicate the meaning of what that music was, an escape from the profane and a connection to the sacred plane, in form it reconstructs it in light of the duo's influences, from the obvious Portuguese and pagan folklore, chamber and sacred music, to the darkness of doom and heavy metal, the structured improvisations of North American jazz, and psycho-acoustic hallucinations and the hash transients of electronic music. Dazhbog, while a passenger of the same train of thought as their previous studio work, comes in a different direction from it. Chernobog consists of two short and heavy tracks, painstakingly crafted during several months, while their latest studio effort is a long suite of eight tracks, composed and recorded live throughout 2020, that form a light and bright record where the duo embedded most of their influences.
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LP
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FFL 073LP
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$28.00
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RELEASE DATE: 5/27/2022
Reissue of François Tusques's Piano Dazibao, originally released in 1970. To avoid the "Quésaco?" on the sleeve of Piano Dazibao, François Tusques explains everything: "A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the 'Dazibao', very good; but the piano in all that?" The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell, and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano, or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin, and Charles Saudrais), the first album of free jazz in France, named... Free Jazz. In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2 (FFL 074LP). Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records. Licensed from Futura / Marge. Carefully remastered from the master tapes. 180 gram vinyl.
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LP
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FFL 074LP
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$28.00
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RELEASE DATE: 5/27/2022
Reissue of François Tusques's Dazibao n°2, originally released in 1971. This was of course not the first time that François Tusques was a "headline act". In 1965, he recorded, with other like-minded Frenchmen (François Jeanneau, Michel Portal, Bernard Vitet, Beb Guérin, and Charles Saudrais), the first album of free jazz in France, named... Free Jazz. In 1967, Tusques again served up Le Nouveau Jazz, in the company of Barney Wilen (and Beb Guérin, Jean-François Jenny-Clark, and Aldo Romano). Three years later, between May and September 1970, the pianist recorded, at his home, Piano Dazibao (FFL 073LP), an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded Dazibao N°2, which shows him as an incisive commentator of his times. Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for "friendship between all the peoples of the world" to the sound of Universalist hymns which transported us from Africa to Asia. But it is really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering "Seize the Time" by Elaine Brown -- three years after the release of Dazibao N°2, she became the first (and only) woman to lead the Black Panther Party. The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument. Licensed from Futura / Marge. Carefully remastered from the master tapes. 180 gram vinyl.
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12"
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HEIST 060EP
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$17.50
PREORDER
RELEASE DATE: 5/27/2022
Heist Recordings welcomes late '80s DMC World DJ Championship contender, techno veteran, and house royalty, Orlando Voorn to the label with his Heist Mastercuts EP. Orlando Voorn is a man who needs little introduction. He's played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hip-hop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as Frequency on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game. The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for this EP. On top of that, he delivers a new track in the form of soulful house bomb "Be With You". "Be With You" starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It's clever sampling and Orlando's soulful touch that make this track tick. Next up is the vinyl only track "Love Feelings" -- originally released in '96 on Urban Sounds of Amsterdam. Think 130+ BPM vintage house grooves with hazy pads and you'll get an idea of what's coming. "Love Feelings" is an up-tempo dreamhouse track that, even though it's almost 25 years old, still ticks all the boxes of a contemporary festival groover. On the B-side you'll find two versions of "Tenderness": the original mix and the "Late Night Dub", both originally released on Clubstitute Records back in '95. The original has a '90s garage groove with male vocal chops, old school house keys and strings. The late-night dub is exactly that: a dreamy ethereal deep house groove with warm synth hits, introverted percussion some very on point sax loops. The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings.
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LP
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HOP 010LP
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$31.50
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RELEASE DATE: 5/27/2022
Debut vinyl outing for Valentina Magaletti and Pino Montecalvo's Avvitagalli project. Variegated percussion + wtf jams inspired by an abandoned and torched palazzo somewhere in southern Europe. None Corsa explores presence and absence, purpose and chance. The push-pull between Pino's toys, records, radio, and instruments with Valentina's arsenal of percussion and production techniques takes in elements of modern composition, jazz, dub, and post punk.
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10"
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HOP 011LP
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$31.50
PREORDER
RELEASE DATE: 5/27/2022
Warm Currency is a new project by Sydney-based friends, artists and musician's MP Hopkins and Mary MacDougall. Mary began working with MP Hopkins and Christopher Schueler in 2008 as Vincent Over the Sink morphed into The Bowles. Returns was recorded in Mary's home during 2020-2021 and is their first release since 2012's The Bowles EP (Kye). Quietly intense folk music, song-poems, and concrète collages built from seemingly simple and delicate arrangements for guitar, keyboards, voice, and tape. Recommended if you like Flaming Tunes, Nico, Alastair Galbraith, The Garbage and the Flowers.
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2LP
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HPS 107ULTRA-LP
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$49.00
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RELEASE DATE: 5/27/2022
Side A/side b yellow-black-blue double vinyl. 20th Anniversary remastered/remixed edition. Jalamanta has been re-mixed by Tony Mason, with a freshly baked re-master by John McBain at JPM Mastering, San Francisco. Cover photo by Sam Grant. Skull Modern Relics by Joe Herbick. Art direction by Ryan Jones. Layout by Branca Studio.
Brant Bjork: "Jalamanta was a life changing record for me. It's the record that launched my journey as Brant Bjork. Listening to the tapes 20 years later was amazing. Tony Mason and myself were transported back to that moment in time. Jalamanta was a first for both Tony and myself. My first record as a solo artist and his first record as an engineer. We didn't think twice about re-mixing it. With our combined experience over the years, we knew we could take Jalamanta to the place we always wanted it to go... and we did. Dig it."
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LP
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IMPREC 140LP
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$27.50
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RELEASE DATE: 5/27/2022
Pauline Oliveros' Accordion & Voice is available on LP for the first time since it was originally released in 1982. Cut at Golden and pressed at RTI for maximum fidelity. Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations. A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the US West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.
"Accordion & Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played 'Rattlesnake Mountain'. I followed the feelings and sensations of my many experiences of the mountain -- the changing colors of the season, the breezes and winds blowing through the grasses and trees. 'Horse Sings From Cloud' taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space. My thanks to Important Records for bringing these pieces to be heard again." --Pauline Oliveros, 2007
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LP
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IMPREC 141LP
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$27.50
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RELEASE DATE: 5/27/2022
Pauline Oliveros's The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity. An utterly essential document of early American minimalism from Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice (IMPREC 140LP). "The Wanderer" is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, "Song", is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, "Dance", demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures. The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed January 27, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting. "Horse Sings From Cloud", written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of "Horse Sings From Cloud" has been recorded on Accordion & Voice. An early version of the score reads, "Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it." This time, "Horse Sings From Cloud" is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.
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CD
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IMPREC 507CD
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$14.00
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RELEASE DATE: 5/27/2022
The Amsterdam-based collective Wanderwelle presents the first entry of their trilogy for Important Records, dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. Black Clouds Above The Bows consists of electro-acoustic threnodies for an environment at risk. Wailing odes express and examine the destructive activity of intensifying storm systems that are enhanced by the climate crisis. First-hand experiences with coastal damage and meetings with local maritime experts on the subject inspired the artists to compose this album. Antique cavalry trumpets play a central role in the album. The instruments, recorded and manipulated by Wanderwelle, sound an environmental alarm in the same manner as they were once used to warn men on the battlefield. After more than a century of silence, they are once again fulfilling their purpose. Starting out as menacing tones, the brass progresses into blaring noises and gets more aggressive as the album continues, resulting in a cacophony across a tumultuous sea. With digital alterations, the natural trumpets were used beyond the range of the harmonic series and their original pitch. Furthermore, their bright timbre is reminiscent of the songs of the sirens in Greek mythology, whose bewitching tones lured ancient mariners to their doom. A fitting analogy for our lack of modern leadership and march towards ecological catastrophes. A great deal of inspiration was found in maritime superstition and the vast number of bad omens. For ages, these ill signs are known to have preceded the demise of seamen. This theme felt equally suited to the current environmental disasters and the larger crises yet to come; the writing's on the wall. Samuel Taylor Coleridge's major poem "The Rime of the Ancient Mariner", served as further inspiration for the bleak mood of the album. Transmuting the original characteristics of acoustic instruments is a recurring technique used in the making of the trilogy. The sounds generated by these processes are combined with recorded electronics and archival recordings. Later in 2022, All Hands Bury The Cliffs At Sea, the second part of their trilogy, will be released on vinyl. The concluding part is currently nearing completion.
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KOM 451LP
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$28.50
PREORDER
RELEASE DATE: 5/27/2022
LP version. The dancefloor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from? "Jesus Was An Alien is a discourse about whether Jesus was an actual alien," she explains, "but also a social debate about what is and implies religion today." She offers up her provocative second record -- her first on Kompakt -- as a soundtrack for the listener's own journey through the intricacies and ironies of modern belief. Picking up on the themes she brought to her debut, the 2018's LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s -- Hot Chip, Simian Mobile Disco, Justice -- to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, "I feel emotions and colors piling up inside me . . . My tracks are color streams that tell a story." Jesus Was An Alien is not just multicolored -- it's multi-lingual too, slipping in-and-out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of "The Principle of Vibration"). The album features Perel's voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track. "Jesus Was An Alien" stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson's proclamations growing more fervent over the song's sensual stride. Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on "Matrix"; the delirious blur of ghostly chimes and disembodied voices of "Religion"; and the retro radiance of "The Principle of Vibration", in which Perel exhorts you to "come on and vibe" over an athletic riff and shuffling percussion. "Kill The System", meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer "Am Kanal" starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs. The variety throughout Jesus Was An Alien underlines Perel's purpose in this latest project; she's experimenting her way to answers -- or maybe just more questions.
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12"
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KOM EX120EP
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$18.00
PREORDER
RELEASE DATE: 5/27/2022
The kick drums of tomorrow once again begin to rumble in the smog infested, strobe-stricken clubs of today. Kompakt's Speicher series always strives to provide the dance floors with a soundtrack to grant our mind and body temporary refuge and escape. Kompakt feel it is more than ever needed considering the darkness that surrounds us all in these times. Kompakt welcome back Marc Romboy. A gifted producer, DJ and friend that has been behind the decks as a key supporter of Kompakt's music since the beginning. Beyond that, Marc is an astute musician, with releases on many of the esteemed; from Ovum to Innervisions and of course his own Systematic Recordings his music is incredibly varied. They say that the third time is a charm, but in this case he returns to our Speicher series again with a two track EP that feels more like a sequel that is true to the excellent consistency of his previous output. Armed only with a Buchla Music Easel, the Roland TR-909 and an Arp 2600, "Randomized" is pure techno as it tweaks and twists into a complete frenzy. Marc pays homage to the legendary Californian synthesizer inventor Don Buchla with the very trippy churner, "Monsieur Buchla".
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12"
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KOM EX121EP
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$18.00
PREORDER
RELEASE DATE: 5/27/2022
A double A side from two artists on Kompakt's beloved Speicher series hasn't come in quite some time so the label figured it was high time for the return. A full dose of floor-filled power for the festivals of 2022. The duo that are Extrawelt should be no strangers to your ears -- since you last heard from them in 2019 when they took over Speicher 110, they've released with Feel My Bicep, Further Electronix, Watergate, Dream Awake, Traum, and of course Cocoon. "Stabilo" is raw and powerful, a synthesis of their analog prowess with a beat that is just unstoppable. Say hello to 1979 as comes onboard with his debut with Speicher. Famously known for the HOSH collaboration "Midnight" (Ministry Of Sound) and fresh off a remix for Speicher alumni Anfisa Letyago, Kompakt happily feeds you a summer bomb to nourish your peak time palate. A provocatively raw bass drum and dirty synth keep "Vulcano" in an eternal eruptive state. Take every breath as an event.
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CD
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KOMP 171CD
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$15.50
PREORDER
RELEASE DATE: 5/27/2022
The dancefloor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from? "Jesus Was An Alien is a discourse about whether Jesus was an actual alien," she explains, "but also a social debate about what is and implies religion today." She offers up her provocative second record -- her first on Kompakt -- as a soundtrack for the listener's own journey through the intricacies and ironies of modern belief. Picking up on the themes she brought to her debut, the 2018's LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s -- Hot Chip, Simian Mobile Disco, Justice -- to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, "I feel emotions and colors piling up inside me . . . My tracks are color streams that tell a story." Jesus Was An Alien is not just multicolored -- it's multi-lingual too, slipping in-and-out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of "The Principle of Vibration"). The album features Perel's voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track. "Jesus Was An Alien" stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson's proclamations growing more fervent over the song's sensual stride. Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on "Matrix"; the delirious blur of ghostly chimes and disembodied voices of "Religion"; and the retro radiance of "The Principle of Vibration", in which Perel exhorts you to "come on and vibe" over an athletic riff and shuffling percussion. "Kill The System", meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer "Am Kanal" starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs. The variety throughout Jesus Was An Alien underlines Perel's purpose in this latest project; she's experimenting her way to answers -- or maybe just more questions.
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2LP
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KRXN 024LP
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$33.00
PREORDER
RELEASE DATE: 5/27/2022
Spectacular mystical jazz infused psychedelics from Canary Islands' cult band GAF. Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they're feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra-esque influenced thematic of the six-piece band. Over a series of seven huge sounding themes, you can hear twirling saxophones, trumpets, marimbas, modulars, and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava. Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings -- as an additional inspiration for musical freedom. The result really shines through its 74 minutes of mind-blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation. For fans of Sun Ra, Alice Coltrane, free spiritual jazz. Presented in a gatefold sleeve with two beautiful paintings by Tenerife painter, Sema Castro.
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LP
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LBR 064LP
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$35.50
PREORDER
RELEASE DATE: 5/27/2022
Little Butterfly Records present the first time reissue of Jorge Galemire's second album Segundos Afuera, recorded and released in 1983. Considered a landmark of '80s Uruguayan music. Candombe, rock, and jazz shake hands with singer-songwriter vibes, creating a sophisticated pop with South American roots and equal doses of groove and psychedelia. Segundos Afuera was recorded at La Batuta, the first recording studio in Uruguay to have 16 channels. The sound engineer (and partly music co-producer) was again Dario Ribeiro. Ribeiro was instrumental in the album's sonic experimentations, encouraging Galemire's ideas. The textures achieved with backward tapes in "Sin Saber Porqué" and "Un Son", the overlapping female voices (performed by the trio Travesía) in that song, the three drums added in "Kublai Kan" and its male choral canon are a sample of these searches, unusual until that moment in Uruguayan music. Segundos Afuera had a generous studio budget for the time. It was recorded in about 300 hours, when it was usual for the Orfeo label to assign a maximum of 100 hours for these projects. Despite that fact, it's surprising how Galemire and Ribeiro achieved a work so stylized taking the best of Uruguayan studios technical limitations. The rhythm section of Segundos Afuera was the same as the previous record: Andrés Recagno on bass (who also played synthesizers, backing vocals and some arrangements) and Gustavo Etchenique on drums, plus Carlos "Boca" Ferreira on percussion. More than thirty musicians are featured in the album. Among them are some of Galemire's artistic heroes such as Osvaldo Fattoruso, Eduardo Mateo, and Dino. Segundos Afuera went almost unnoticed by the general audience. However, it became an instant classic in the Uruguayan music scene from the very moment of its release. The sophistication of its sound; the unique way of combining pop, rock, jazz, candombe, milonga, and murga; the search for moods and textures; the lyrics that mixed common themes and existential reflection dazzled and influenced different generations of artists. Galemire released only three studio albums after Segundos Afuera. None of them were as ambitious as this one. Its cult status was reinforced when it became inaccessible. After a first release of a few hundred vinyl and cassette copies, the album was never reissued in any format. The few copies available became a prized collector's item in Uruguay and abroad.
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2LP
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LBR 074LP
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$46.50
PREORDER
RELEASE DATE: 5/27/2022
Los Sueños de los Otros is an elegant and ambitious work, driven with conviction to fruition. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. Los Sueños de los Otros is the first solo album by Mariano Gallardo Pahlen. The songwriter, producer, singer, and multi-instrumentalist, composed and recorded practically everything that is heard throughout the ten songs. Raised in a vast artistic universe, with a lot of movies and music constantly playing, he created a debut album that reflects a variety of influences that combine and blend to conceive a true fingerprint. It is an elegant and ambitious work, driven with conviction to fruition. Thus, in the breadth and ambition of his debut, there is room for images, films, questions, conclusions, references, sounds, and landscapes arranged in such a way that they feel timeless, as never seen but known since ever. It could be a record from the 1970s or from the year 2050, which incorporates elements from the world of classical and pop music. An album that explores dreamlike worlds and reworks them through refined arrangements, a wide variety of instruments and vocal searches. The perfect balance between ecstasy and melancholy. A huge album that Mariano Gallardo Pahlen built alone, to find out who he was, who was there, in the middle of all those layers. To find out and be reborn. This debut should be celebrated for fulfilling the premise, not simple at all, of every first album: to establish a new voice that seeks to be heard in a memorable way.
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12"
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LIVITY 053EP
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$16.00
PREORDER
RELEASE DATE: 5/27/2022
Toma Kami returns to Livity Sound Recordings for a third EP of provocative, experimental club gear. At the helm of his own Man Band label the French producer continues to explore a hybridized style which favors fractured beats, playful samples and occasional psychedelic flourishes. Compared to the busier sound of previous releases, minimalism informs Toma's approach on this EP as he sits his crunchy drums and weighty low-end in a tangibly spacious mix on "Amapicante". Even within a stripped-down context, his unique approach shines through as "Later To The Bone" progressively ramps up in scratched and scuffed sonic interference and "Mzecal" trips over its own fragmented found-sound drum formations.
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2x12"
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LULLP 006LP
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$32.00
PREORDER
RELEASE DATE: 5/27/2022
Modest techno for mindful people, second edition. Laut & Luise present Arutani's newest album, a true evolvement of its predecessor. Still true to the artist's handwriting, with a minimal and subtle character, hinting details and bold elements. However even more a unique listening experience and a statement on its own.
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LP
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MAIS 047LP
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$28.00
PREORDER
RELEASE DATE: 5/27/2022
On Delta Estácio Blues, São-Paulo-based singer, composer and actor, Juçara Marçal delivers an electric, unflinching take on contemporary Brazil where samba, tropicalia and maracatu are reimagined via hip-hop production techniques. Created under an oppressive political climate as Brazil suffered from the pandemic, pain, anguish, chaos and anger run through Delta Estácio Blues. Co-produced by Marçal with fellow Metá Metá founder Kiko Dinucci, the album was partly inspired by Danny Brown's 2017 leftfield rap masterwork Atrocity Exhibition. For fans of: Metá Metá, Moor Mother, Kiko Dinucci, Damon Locks, Neneh Cherry. "Melding industrial 808s with melodic softness, Marçal weaves disparate strands into a playful and powerful whole." --The Guardian
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CD
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MONKEY 120CD
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$15.50
PREORDER
RELEASE DATE: 5/27/2022
Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing -- not even a global catastrophe -- was going to stop her from rallying people to the dancefloor. Her new album is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This is a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave, and even nu metal along the way. Catnapp -- an accomplished shapeshifter who's never been afraid to get weird -- is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyper pop if you must, but pop concentrate might be a more accurate term. Modeselektor -- whose similarly mischievous, genre-hopping exploits are well documented at this point -- provided creative guidance and lent a hand in the album's production, but they aren't the only guests on Trust. Catnapp's little brother Wilo does his best Linkin Park impression (and constructed the beat) on "Br34th3," and fellow Argentinian Methone cooked up the glimmering melodies of album opener "Need This." French trance/breakbeat/pop specialist Aamourocean contributes some technicolor wizardry to "Stay Unsaved," while American rapper John Debt provides a little satire, taking on the persona of a cringeworthy music industry phony for the hilarious skit "Skukinunu." O.L.I.V.I.A. (another Argentinian) helps to close out the album, seductively crooning on the Spanish-language "Despierta," a song where Catnapp sets aside one of her personal fears and sings in her native tongue for the first time in years. Trust does border on overload, but again, that's by design. The album arrives at a time when attention spans are short, interruptions are constant, multitasking has become routine and practically the entire history of music is now accessible at the push of the button. Modern life is hectic, and Trust plays out accordingly, transporting into the fractured headspace of someone who's listening on headphones as they go about their day.
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LP
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MONKEY 120LP
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$22.50
PREORDER
RELEASE DATE: 5/27/2022
LP version. Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing -- not even a global catastrophe -- was going to stop her from rallying people to the dancefloor. Her new album is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This is a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave, and even nu metal along the way. Catnapp -- an accomplished shapeshifter who's never been afraid to get weird -- is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyper pop if you must, but pop concentrate might be a more accurate term. Modeselektor -- whose similarly mischievous, genre-hopping exploits are well documented at this point -- provided creative guidance and lent a hand in the album's production, but they aren't the only guests on Trust. Catnapp's little brother Wilo does his best Linkin Park impression (and constructed the beat) on "Br34th3," and fellow Argentinian Methone cooked up the glimmering melodies of album opener "Need This." French trance/breakbeat/pop specialist Aamourocean contributes some technicolor wizardry to "Stay Unsaved," while American rapper John Debt provides a little satire, taking on the persona of a cringeworthy music industry phony for the hilarious skit "Skukinunu." O.L.I.V.I.A. (another Argentinian) helps to close out the album, seductively crooning on the Spanish-language "Despierta," a song where Catnapp sets aside one of her personal fears and sings in her native tongue for the first time in years. Trust does border on overload, but again, that's by design. The album arrives at a time when attention spans are short, interruptions are constant, multitasking has become routine and practically the entire history of music is now accessible at the push of the button. Modern life is hectic, and Trust plays out accordingly, transporting into the fractured headspace of someone who's listening on headphones as they go about their day.
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12"
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MUSIQ 276EP
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$20.50
PREORDER
RELEASE DATE: 5/27/2022
It's a dancefloor edit of Lawrence's latest conceptual album Birds On The Playground which is made for Mule Musiq's listening bar Studio Mule in Tokyo. There are four Lawrence's elegant deep house stuffs. It never gets tired, it's always most beautiful house music.
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LP
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MWM 012LP
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$25.00
PREORDER
RELEASE DATE: 5/27/2022
Polymer Boulevard, the third release of The Ebertbrothers on Mindwaves Music, merges darkened cinematic ambiences with intricate rhythms and textures. Each of the eight tracks offers a distinct approach to contemporary electronics, surprising the listeners with unusual sonic width and breadth, taking them on a memorable musical roundtrip. Utilizing an extensive range of synths and techniques, The Ebertbrothers deliver a rich, intense and finely layered album that is well worth one's attention. Housed in a beautiful printed cardboard sleeve. Edition of 200, individually hand-numbered.
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CD
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ODIN 9577CD
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$14.50
PREORDER
RELEASE DATE: 5/27/2022
The Source -- nearly 30 years in the tradition of the infinite peculiar. The Source is a quartet with a long history. Actually, started in 1993, with the founding members Ingebrigt Håker Flaten (bass), Per Oddvar Johansen, Trygve Seim, and Øyvind Brække, who all by then studied at the Jazz Course at the Trondheim Music Conservatory. The new quartet album; ... But Swinging Doesn't Bend Them Down will be published on the legendary record label Odin Records. The title is an excerpt from the poem "Birches" by the American poet Robert Frost, a title that encompass a child's dream of climbing the treetops and swinging birch branches. It could be read as a reflection over the conflict between the free play in nature and the boundaries of adult life awaiting on the ground... But maybe the ground can wait? Just join the sheer joy of climbing the trees and the careful balance that is needed not to fall and be at one with the flexibility of nature. After several season-related albums, like The Source: of Christmas (1995) and The Source: of Summer (2013), it is now a pure quartet display out in the tube, only based on original music. The pieces are all signed by the quartet members and covers a vast register; raga, shuffle, swing, lyrical spots, improv and even a rough trombone/drum outing, and more. The Source: Øyvind Brække (trombone), Trygve Seim, (saxophone), Per Oddvar Johansen (drummer), Mats Eilertsen (bass).
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LP
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ODIN 9577LP
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$27.00
PREORDER
RELEASE DATE: 5/27/2022
LP version. The Source -- nearly 30 years in the tradition of the infinite peculiar. The Source is a quartet with a long history. Actually, started in 1993, with the founding members Ingebrigt Håker Flaten (bass), Per Oddvar Johansen, Trygve Seim, and Øyvind Brække, who all by then studied at the Jazz Course at the Trondheim Music Conservatory. The new quartet album; ... But Swinging Doesn't Bend Them Down will be published on the legendary record label Odin Records. The title is an excerpt from the poem "Birches" by the American poet Robert Frost, a title that encompass a child's dream of climbing the treetops and swinging birch branches. It could be read as a reflection over the conflict between the free play in nature and the boundaries of adult life awaiting on the ground... But maybe the ground can wait? Just join the sheer joy of climbing the trees and the careful balance that is needed not to fall and be at one with the flexibility of nature. After several season-related albums, like The Source: of Christmas (1995) and The Source: of Summer (2013), it is now a pure quartet display out in the tube, only based on original music. The pieces are all signed by the quartet members and covers a vast register; raga, shuffle, swing, lyrical spots, improv and even a rough trombone/drum outing, and more. The Source: Øyvind Brække (trombone), Trygve Seim, (saxophone), Per Oddvar Johansen (drummer), Mats Eilertsen (bass).
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7"
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ON 405EP
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$14.50
PREORDER
RELEASE DATE: 5/27/2022
Part of The Optic Sevens 4.0 reissue series. This version is a brand new band approved stereo mix of the only single by Liverpool cult legends The Wild Swans. Due to studio inexperience, the single originally ended up being perhaps the only 12" in history with the A-side recorded in mono and the B-side, "God Forbid", in stereo. Despite this, the 12" received rave reviews, becoming single of the week in numerous music papers. John Peel played it to death and it quickly gained cult status by ending up as the last record ever released on Bill Drummond's cult label Zoo Records (Drummond himself went on to proclaim it "the best single we put out on Zoo"). Blue vinyl; includes postcard and poster.
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7"
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ON 406EP
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$14.50
PREORDER
RELEASE DATE: 5/27/2022
Part of The Optic Sevens 4.0 reissue series. The Monochrome Set were something of the unsung heroes of the post-punk world; they fitted into absolutely no category whatsoever and their puckish take on spaghetti western soundtracks meets lounge jazz via the twisted lyrical imagery of vocalist Bid was as singular as it was unique. Comprising a couple of ex-Ants in Andy Warren and Lester Square, with singer/guitarist Bid and drummer JD Haney, their filmic, playful material found favor with many, including John Peel although they failed to match this with commercial success. "The Jet Set Junta" was originally released on Cherry Red in 1983 with its urgent, ringing guitars surrounding Bid's lyrics telling of dodgy arms dealings and armored limos as Lester Square's Ennio Morricone twang bends and reverb as a counterpoint. Red vinyl; includes postcard and poster.
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LP
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OSR 090LP
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$28.00
PREORDER
RELEASE DATE: 5/27/2022
Unissued recordings by this very loud power trio from San Francisco, modeled after Cream, Blue Cheer, or The Jimi Hendrix Experience. Including their fantastic studio demo from 1968 plus raw and wild live tracks from 1969. Boogie (or The Boogie) was probably the first hard-blues/proto-metal group that emerged from the San Francisco scene. This power-trio was formed by Barry "The Bee" Bastian (Canned Heat, Lee Michaels...) on guitar/vocals; John Barrett (The Rhythm Dukes) on bass, and Fuzzy John Oxendine (Roky Erickson & The Aliens, Jerry Miller Band...) on drums. Comrades of Moby Grape (who even let Boogie use their rehearsal space) and the Sons Of Champlin, they played at all the legendary venues (The Ark, Avalon, Fillmore...) sharing stage with bands like Buffalo Springfield, Quicksilver, Ace Of Cups, Flamin' Groovies, or Country Joe & The Fish. Their explosive show at the Sky River Rock Festival (August, 1968, the first outdoor multi-band Rock Festival held in the United States) to an audience of 150,000 people, is still remembered today. Sadly, their convulsed story, which includes undercover narcs and marijuana busts, left them with no record deal. But a studio demo -- recorded in 1968 at Pacific High Recorders -- including three tracks, "In Freak Town", "To Me" and a terrific, fuzzed out seven-minute-long cover of "Wade In The Water", plus some live recordings from 1969, survived. Previously available only as part of a private CD released by Barry Bastian, here's the first ever vinyl release. Hard cardboard sleeve; insert with rare photos and detailed liner notes by San Fran rock historian Bruno Ceriotti; includes download card with the full album plus three bonus tracks. "Arguably the greatest San Francisco's rock n' roll band of the '60s who never released anything" --Bruno Ceriotti.
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LP
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PHS 074LP
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$28.00
PREORDER
RELEASE DATE: 5/27/2022
One of the hidden treasures from Venezuela, Grupo Geyser were pioneers in fusing psychedelic rock with Latin and Afro Cuban rhythms. Here's their first ever vinyl retrospective, including their four singles originally released between 1970-73. Los Geyser aka Grupo Geyser formed in Caracas, Venezuela, in the mid-60s by brothers Publio and Ebenezer García. Initially influenced by the British and American bands of the time, the band experienced different line-ups and they gradually incorporated Latin/Afro-Cuban influences to their music, along with instruments like bongos, tumbadoras, or sax, thanks to musicians like Roberto Monasterios. Led by Publio García, who was the main songwriter, Grupo Geyser always played their own songs, refusing to do covers. They got to release a few self-produced 45s during 1970-1973 and they were pioneers in not only fusing psychedelic rock with Latin and Afro-Cuban rhythms but also in home-recording and multi-tracking with their song "La Súper Lombriz Atómica", recorded by brothers Publio and Ebenezer at their home studio playing all the instruments themselves. The band even caught the attention of famous singer Alfredo Sadel, who took them under his wing and received interest from the US market. This comp includes all their 45 sides: from heavy Latin-psych-fuzz-groove ("Óyeme Guajira", "Piénsalo Bien") to freak-beatish psych with Farfisa ("Tú Me Caes Mal"), bluesy acid psych ("Sodoma y Gomorra", and more. Includes color insert with detailed liner notes by band member Publio Garcia and photos.
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CD
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PILZ 6580062CD
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$15.50
PREORDER
RELEASE DATE: 5/27/2022
Reissue of the third album by the German band Wallenstein, originally released in 1973. Recorded at the Dierks Studios by Dieter Dierks, the group consisted of bandleader Jürgen Dollase, Harald Grosskopf (drums), Dieter Meier (bass), Bill Barone (guitar), and Joachim Reiser (violin). In 2022 the original analog masters were newly remastered. An elaborate work, which has led to a very good result.
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2LP
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PXC 075LP
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$33.00
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RELEASE DATE: 5/27/2022
Pixadelic present a reissue of Étienne de Crécy's debut album, Super Discount, originally released in 1996. A founding classic of the French sound, Étienne de Crécy is one of the most influential figures on the electronic music scene and one of the most inspired producers. Over time, this record has become one of the pioneering records of the French Touch and a founding classic of electronic music, both in France and abroad. It was a critical and commercial success from the start, an icon of its time. Features Minos, La Chatte Rouge, Mr. Lean, Mooloodjee, Alex Gopher, and DJ Tall. "a clever and classy introduction to Gallic dance music" --The Guardian
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2LP
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RANDB 090LP
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$35.50
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RELEASE DATE: 5/27/2022
Fifteen tracks of prime live Free across four sides of vinyl, recorded for FM Radio on their early 1971 US tour. The original line-up of Rodgers, Kossoff, Kirke, and Fraser are at the height of their abilities in front of an enthusiastic Santa Monica crowd. Features many original songs not included on the Free Live LP (1971) plus their version of "Rock Me Baby". Good sound quality plus full credits and extensive sleeve notes. Recorded at Santa Monica Civic Centre, California and broadcast on Radio KUSC FM in February 1971.
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LP
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RANDB 092LP
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$26.00
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RELEASE DATE: 5/27/2022
At the height of their popularity in 1969 and 1970, Crosby, Stills, Nash, and Young made a series of broadcast appearances and this compiles the best -- jamming with Tom Jones, folking with Joni Mitchell and electrifying the Fillmore East. Thirteen tracks in good quality, varying from an acoustic version of Stephen Stills's "4+20" to an extended full band workout on Neil Young's "Southern Man". Comes with full credits and sleeve notes.
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CD
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RCD 2227CD
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$14.50
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RELEASE DATE: 5/27/2022
After five successful studio albums in 12 years, here is Espen Erisken Trio's first live album, by popular demand. A popular concert attraction in Norway through Europe, Russia, and South East Asia, the trio have constantly been asked when they will release a concert recording. Five of the seven tracks were recorded live in concert at Oslo's Nasjonal Jazzscene in 2018 and 2020, one at a special one-off intimate concert at Propeller Music Division in Oslo in 2020, and one in Poznan, Poland, in 2021. Six of the seven tracks are extended versions of Eriksen originals from four of the studio albums, adding instrumental vividness as well as dramatic and moving elements to the event. The seventh is a splendid cover of Krzysztof Komeda's iconic "Rosemary's Baby".
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CD
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RCD 2229CD
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$14.50
PREORDER
RELEASE DATE: 5/27/2022
Who Do You Love The Most? is the young trio's third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album's ten songs are all Kjetil Mulelid originals, except for a gripping cover of Judee Sill's "The Archetypical Man". Two of the originals are the trio's versions of songs that first appeared on the pianist's much lauded solo piano album (Piano) from 2021 (RCD 2220CD/RLP 3220LP). Kjetil André Mulelid comes across as an exceptionally mature pianist and composer.
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LP
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RPTD 008LP
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$30.50
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RELEASE DATE: 5/27/2022
Jawad Nawfal and Mazen El Sayed, better known by their stage names of Munma and El Rass, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut's Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and acapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo's first recorded album. Kachf el Mahjoub (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CDs, during a launch event at then-budding alternative venue Metro al Madina in Hamra in 2012. These CDs went out of print in record time, as can be expected. El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of Ruptured's to produce a vinyl version of this album.
Kachf el Mahjoub is a landmark album in Lebanon's alternative music scene, and the Mena region's hip-hop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former's brazen, slammed vocals and the latter's harsh beats works wonders on Kachf el Mahjoub, Munma's sound-world perfectly fitting El Rass's agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hip-hop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The Space Ape, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music. Includes remix by Sary Moussa and a bonus track. Remastered for vinyl by Cedrik Fermont. Pressed by Mother Tongue in Verona.
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CD
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SCR 199CD
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$13.50
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RELEASE DATE: 5/27/2022
The EP is the Hull and Leeds-based band's first major release since their debut album, Bedroom, which was hailed as a latter-day shoegaze classic when it came out in July 2020. "Port", which was originally released as a single last October, marked a major step forward for the band. Sounding not unlike the Low of Double Negative (2018) or Hey What (2021) deconstructing The Temptations' "I Know I'm Losing You", it's a much darker sounding song; its distorted drones and beats burst into life with frenzied guitar and howls of anguish. "It helped us consider the band in a much more fluid perspective," says bassist and synth player Jordan Smith of the pivotal track. "Swapping instruments and redefining roles gave us time to spend working on new and more intriguing sonic ideas." This new experimental and more electronic approach was expanded as the standalone single release grew, almost accidentally, into a full EP, which features radical reworkings by Daniel Avery (a fearless, all guns blazing techno stomper); Working Men's Club (New Order's "Sub-Culture" meets a long-lost early Warp Records classic); A Place To Bury Strangers (a feedback frenzy of total sonic annihilation); Tom Sharkett from Manchester krautpoppers W.H. Lung (DFA Records goes down to the death disco); Jonathan Snipes from LA-based experimental hip-hop trio Clipping (glitchy beats imploding into a wall of white noise); and Jordan himself, as Mouth Company, who brings proceedings to a close with a slow-mo trip-hop treatment. "To have so many influential artists to us putting their own piece of DNA on what has become such an important track to us is so humbling," gushes Ryan. "It's brand new territory for us, and we just feel so lucky to have everybody involved." The EP is being released ahead of bdrmm's dates supporting shoegaze legends Ride in April and will be followed by their eagerly-awaited second album, which they are currently working on. "I am so excited to embrace the next chapter of bdrmm." CD version includes poster.
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12"
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SO 002EP
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$20.00
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RELEASE DATE: 5/27/2022
Samo DJ's label Sattaoja is back with release number two. A four-track EP with breaks and beats by Mtkvarze mainstay Toke. The house sound of Tbilisi.
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CD
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SOMM 073CD
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$16.50
PREORDER
RELEASE DATE: 5/27/2022
Orang-Utan were in fact a London based band called Hunter, featuring vocalist Terry "Nobby" Clarke (of psych-pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 and DeLane Lea studios. In a bizarre twist of events, their producers/managers ran with the tapes to the US, where they placed the album on Bell Records under a new band name: Orang-Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin-guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff... Legit reissue done in co-operation with the original band members. Insert with liner notes telling the bizarre story of the band, and rare photos. "Quintessentially British hard-rock, transforming the blues in a way American bands rarely did, and with a kind of vocal intensity that compares to Free, Humble Pie, et al." --Aaron Milenski (Galactic Ramble)
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LP
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SOMM 073LP
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$29.50
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RELEASE DATE: 5/27/2022
LP version. New repress in hard cardboard sleeve with obi; includes download card. New repress in hard cardboard sleeve with obi. Orang-Utan were in fact a London based band called Hunter, featuring vocalist Terry "Nobby" Clarke (of psych-pop legends Jason Crest), guitar player Mick Clarke, drummer and songwriter Jeff Seopardi and bass player Paul Roberts. They recorded their sole album in 1971 and DeLane Lea studios. In a bizarre twist of events, their producers/managers ran with the tapes to the US, where they placed the album on Bell Records under a new band name: Orang-Utan, without telling any of the band members. A lost classic of blazing, early hard rock with minor psychedelic hangover vibes, a twin-guitar attack, and waves of fuzz/wah, along with powerful vocals. Think Leaf Hound, Budgie, Bang, Sir Lord Baltimore, Hard Stuff... Legit reissue done in co-operation with the original band members. Insert with liner notes telling the bizarre story of the band, and rare photos. "Quintessentially British hard-rock, transforming the blues in a way American bands rarely did, and with a kind of vocal intensity that compares to Free, Humble Pie, et al." --Aaron Milenski (Galactic Ramble)
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12"
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SS 086EP
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$12.50
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RELEASE DATE: 5/27/2022
Three track EP with "Weirdo", "Original Weirdo", and "Imaginary Thugfunk".
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7"
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SSR 089EP
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$12.50
PREORDER
RELEASE DATE: 5/27/2022
Erupt offer up five fiery tracks on Left To Rot. Treading the blurry lines between extreme punk and extreme metal, Left To Rot is a cacophony in all the right ways. Fast as, heavy as, nasty as. Featuring members of Sheer Mag, Geld, and Gutter Gods, Erupt brings its own molten explosions to the surface. These burnt offerings are recommended for fans of Sodom, Celtic Frost, Iron Age, Warthog, Mindsnare, and the other hordes of apocalypse old and new.
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BOOK/7"
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SWELL 001BK
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$31.50
PREORDER
RELEASE DATE: 5/27/2022
Delayed... First-ever official biography of Swell Maps, Swell Maps 1972-1980 penned by band member and co-founder Jowe Head. Swell Maps were formed in Jowe's home town of Solihull, England with various school friends in 1972.The group, also featuring the late Nikki Sudden and Nikki's brother, the late Epic Soundtracks, along with Phones Sportsman, John Cockrill, and Richard Earl emerged in the late 1970s, and are now known as legendary pioneers of what is now referred to as "alternative rock" or "post-punk" with their blend of punk rock mixed with experimental and psychedelic sounds. Together they released four 7" singles, the first in 1977 on their own Rather Records and two critically acclaimed albums in a brief but dramatic career, that led to them topping the UK independent charts, and influencing bands such as Sonic Youth, Nirvana, and Blur. After Swell Maps broke up in 1980, Jowe joined the Television Personalities. Ten years with the TVPs saw Jowe making more influential records, touring Europe regularly, and playing in Japan and the USA. Today he still regularly releases recordings, solo and with multiple groups, and is the steward of the Swell Maps legacy. In this 155-page biography of the band, Jowe takes us to each members' formative years and reveals what made them experiment with challenging music and eventually come together to form Swell Maps. Through his own recollections and utilizing interviews with former members, he explores the early days of the band, and details stories that bring the reader into the inner workings of the band as they traveled through the late '70s cultural scene in Europe. The last section of the book updates the whereabouts of all the key players. The book includes dozens of full-color images of band memorabilia from the author's personal collection, including photos, posters, flyers, artwork, original lyrics, and more. Contains 7" with six exclusive never-before-released tracks culled from the band and solo member archives. Packed with full color photos and images of posters, flyers, album art, and other assorted band ephemera. Detailed appendix contains a discography, notes on selected songs, concert dates, and set lists among other items. Full-color 152-page hardcover book, approximately 297mm x 210mm; edition of 1000.
"The first Swell Maps single I bought still to this day gives me a soul scorched buzz'n'rush... The Swell Maps had a lot to do with my upbringing." --Thurston Moore
"Jowe Head spent time in two of the UK's coolest underground bands: Swell Maps and Television Personalities... a lovably skewed indie-pop tunesmith." --Time Out New York
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LP
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TDP 54076LP
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$25.00
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RELEASE DATE: 5/27/2022
Trading Places present a reissue of J.P. Sunshine's self-titled album. In 1967, the English poet George Duffell, alias Jorgy Porgy, decided to set his verses to music, birthing J.P. Sunshine with guitarist/vocalist Rod Goodway of pop act the Pack (later with the Crazy World of Arthur Brown), the line-up expanding with a bassist and bongo player, Duffell's girlfriend on percussion, and former Pack guitarist Andy Rickell on electric lead. These resultant recordings, cut on basic gear in Duffell's flat, evidence an individual psychedelic sound, marked by the incestuous claustrophobia of the group's romantic rivalries, the meandering lyrics, and disjointed melodies pointing to the pervasive drug use that ultimately squashed the project. This is psych with a difference: rare, rough, and freaky. Licensed by Cherry Red.
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LP
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TDP 54077LP
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$25.00
PREORDER
RELEASE DATE: 5/27/2022
Trading Places present a reissue of Beau's Creation, originally released in 1971. Leeds-born folk-rocker John Trevor Midgely, alias Beau, was celebrated for deft twelve-string guitar, a poignant voice and distinctive song-writing, which brought him onto John Peel's Dandelion label. Second LP Creation was recorded over three days and features more of Beau's beautiful twelve-string work and mournful vocals, this time with accompaniment from Steve Clayton and Jim Milne of The Way We Live (later known as Tractor), mostly subtle, but rocking in places, as heard on "The Silence Returns"; this edition comes with rare bonus track, the contemplative "Sky Dance", from a 1972 Dandelion compilation LP. Licensed by Cherry Red.
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LP
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TG 1001LP
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$26.00
PREORDER
RELEASE DATE: 5/27/2022
"GrooveNet/Treblephone Records is proud to announce the release of Palace of Sin, the first release in more than thirty years by Dallas band The Trees. Songwriter/vocalist Patrick McKanna and guitarist Matt Swaney have created a landmark LP which encapsulates rock, country and power-pop influences, combined with solid, insightful lyrics. Patrick McKanna has followed his own muse throughout his entire music career and has steadfastly refused to bow to current styles and influences. His work relies on classic songwriting skills. Matt Swaney's hookful, melodic guitar ensures that the songs stick in your memory after the album is over. Palace of Sin delivers on the promise of 1986's Locomotion Vs. Hittin' The Brake, a seminal record in the development of the Dallas, Texas 1980's Deep Ellum music scene. The band also appeared on the Island Records 1987 release The Sound of Deep Ellum, a musical snapshot of the fertile mix of styles and influences existing on the Dallas music scene. (Their musical pedigree goes back to the dawn of punk/new wave -- Patrick appeared on a local 45 rarity by the U.S. Mods, and Matt was a member of Dallas punk band The Assassins.) Proving that stellar songwriting and classic production values never go out of style, Palace of Sin will be an album that is destined to remain on 'repeat' on your playlist" Released August 2018, but being made available for distribution for the first time."
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LP
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TG 1002LP
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$26.00
PREORDER
RELEASE DATE: 5/27/2022
"Psychedelic art-rock pioneering band from Texas, Lithium X-Mas, re-emerge from a period of relative sedation with a fresh outburst -- a new full-length limited-edition LP. This brand-new recording, which finds the legendary band's core line-up intact, is a culmination of recently resuscitated activity; final tracks were completed and mastered late last year. Lithium X-Mas has an influential history and heritage. Formed in Dallas, Texas, in 1985, it emerged from the punk scene that included the likes of Nervebreakers, Butthole Surfers, Vomit Pigs, and Horton Heat. The band played a diverse array of venues, from seedy warehouses to psychedelic theme parties to Dallas' legendary, upscale Starck Club. Lithium's first forte was the excavated cover song, bringing their own twisted spin to tunes such as Nilsson's 'Jump into the Fire,' Lemon Pipers' 'Green Tambourine,' and Ultimate Spinach's 'Hip Death Goddess.' While the new record maintains aspects of this distorted bliss, it also incorporates a more wide-ranging sonic palette. Instead of feeding every track through a chain of corroded Big Muff pedals, the new Lithium X-Mas uses a panorama of sonic crayons, from mystic Mellotron to ethereal theremin, fantasias of fuzz to freaked-out Farfisa. Forward looking -- but still informed by deep excavation of eclectic record collections. Lithium's fans included Sonic Youth, with whom they shared bills and who advertised them on their guitars; Nirvana, who were inspired by the name for some of their source material; the Butthole Surfers, whose drummer King Coffey signed them to his record label; and many others. This long-anticipated release, economically titled Lithium X-Mas, is on Texas label, GrooveNet Industries/Treblephone. Lithium X-Mas is pressed on clear 'windowpane vinyl' and encased in an elaborate and very-limited-edition foil-printed gatefold cover."
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LP
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TSR 043LP
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$28.00
PREORDER
RELEASE DATE: 5/27/2022
Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently living in the most quintessential European city, Brussels. Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life. The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that add seven more to the originality of the sound. Take, for example, "Apple Banana" -- echoes of Chiemi Manabe, Hosono, and even overtones of Akiko Yano are all seamlessly there. "Sand Dungeon" is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled "Anime Song" could be an unreleased track from Testpattern's infamous and sought-after LP. "Lovely Song" in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world. "CASH OK" harks back to New York's '90s jazz street scene, paying tribute to her Brooklyn live gigs, and album closer "Tsuki No Yama" goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries. Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes you wonder how Shoko managed to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.
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2LP
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ATMV 093LP
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$29.50
PREORDER
RELEASE DATE: 6/3/2022
Awe Kid explores ideas of trans-humanism, evolution and digital immortality on Body Logic, a fantastically lush new album for Atomnation. The immersive ten track record plays with organic, breathing textures punctuated by moments of digital unreal-ness to result in an album permeated with a dream-like quality. This contrast is mirrored by the artwork from Portugal's acclaimed The Royal Studio. Awe Kid is an alias of Sine Language Records co-founder Rick Parsons. It is the product of years spent exploring a multitude of different music. From early days in post-hardcore groups and on to a love of '90s Warp, electronic jazz, and more experimental niches, the multi-instrumentalist has now settled on his own unique fusion of breaks, ambient and left-field dance music. This deft studio wizard mixes up melodic nostalgia with forward-thinking sound design using whatever he can get his hands on, from analog and modular hardware, to samplers, field recordings to digital techniques. Says Parsons, "I love working with digital processes because you get these unexpected moments where you dial something in, that somehow takes on a tangible, organic form in the real world. Searching for these sweet spots was the motivation for the album, contrasting natural textures against synthetic elements, and finding ways to create something that feels like it exists outside of the computer." While the album pays homage to dance music traditions, such as the broken beat of title track "Body Logic", and full-throttle breaks of "Zenith", these are assimilated and repurposed to create something that defies genre categorization. The listener's journey is perfectly paced, with broody but uplifting cuts of electronica giving way to shimmering, celestial melodies, and dusty breakbeats emerging from dense layers of atmosphere, only for the mood to be reset with soothing, suspenseful synths and haunting vocal samples. Elsewhere, devastatingly emotional ambient is followed by punchy grooves and propulsive melodies to make for a real ride.
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2LP
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FAITBACK 012LP
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$34.00
PREORDER
RELEASE DATE: 6/3/2022
On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colors and paints). On double-LP vinyl for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek's home studio in Berlin at the time. The farben project has its roots in Jelinek's love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music's most extravagant stock phrases about various states of love. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall, you hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of color, are dissolved into details and abstractions. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking, and speculation. Gatefold sleeve; includes download code.
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Cassette
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FTR 372CS
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$11.50
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RELEASE DATE: 6/3/2022
"New cassette issue of the third LP by TBWNIS. This was the final album recorded by the original quartet iteration of the band during the Fall and Winter of 2009 in Ottawa. 100 copies were released by Birdman Sound in 2010, then Cardinal Fuzz did another edition of 100 in 2018, apart from the 100 to be included in the anthology box, II. The band at this time was Mark McIntyre, John Westhaver, Bill Guerrero, and Nathaniel Hurlow, and they were throwing down brain-thunderous instrumental thug-psych juice like maniacs. You can pick up small glimmers of lifted riffs in spots, but playing this album will make you feel like you're hearing the soundtrack to your own personal biker flick, whether you can smell the grease, sweat and gasoline or not. It's a magnificent racket TBWNIS conjure up here. The basic propulsion is pure dunt-rock, but they still manage to work in a bunch of completely freaked improv passages that keep their feet in hard rock sludge while allowing their heads to connect with deep space. And if that makes you think of bands like Hawkwind, well so be it. There are certainly more than a few parts of Biker Smell that could've emanated from a stripped-down version of that band. But the fact of the matter is, they didn't. It took the TBWNIS to actually create this wonderfully fevered stuff. Here's another chance for you to enjoy Biker Smell. Grab it now, or forever hold you own sad peace." --Byron Coley, 2022
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LP
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FTR 574LP
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$22.00
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RELEASE DATE: 6/3/2022
"No shortage of dune buggy up the canyon honey slide action here. The first tinges of sonic solvent action provide a loosened effect, but just as the tongue gets lazy, the swagger is spat gently from the tip as clarity bursts into the room with the urgency a hungry baby. Delicate without feeling soft. Brash without feeling harsh and at times Dimples swing fucking hard, like JJ and Leon without forcing it one bit. But if you don't like 'new music' this might not be your cuppa. Soul Chateau, isn't an updated prettied up throwback, it's all here and now, in the present time's glory, gore, majestic beauty, and glimmering perpetual urgency. Co-written, equally played, produced, and recorded by Greg Hartunian and Colby Nathan, Dimples is a truly collaborative project. After much of the album was tracked, Greg was involved in a near fatal car accident, rear ended in the right lane on California's treacherous Highway 5. This left Greg, normally an extremely active worker, in a back brace, and in chronic pain. A majority of the song sculpting was done while Greg was recovering. References to mortality, albeit not heavy handed, join the album's themes. Trialed seeds of brotherly music making; communion, collaboration and dedication. Forms of renewal through sonic therapy. Extracting the nuggets from their extended duo jams, Dimples shape these improvisations into luminous, hooky psychedelic electro camp fire sing-alongs, with the occasional guest spot from New England familiar shredders like Big Blood, Tom Kovacevic, and Keith Waters. "There's no waste, only composition. There's no time, only transition." Melding the dry Mediterranean subtropical climate of Glendale, California with the humid and sometimes frigid Continental climate of Maine, Greg, and Colby work the magic, whether it's in the Tropico Beauty studio of the San Fernando Valley, or South Portland's Laughable Recordings home studio. Topping off the listening experience is the incredible album artwork featuring a series of oil paintings by Salvador Charlí, Hartunian's alter ego with a paintbrush. The paintings depict the colorful and surreal inner workings of the world where the Soul Chateau stands tall on the hill. Through the spontaneity of improv and the deliberate and dedicated practice of song writing, what results is a diverse bouquet of carefully gathered fragrant blooms." --Dan Beckman-Moon, 2022
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LP
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FTR 623LP
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$36.00
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RELEASE DATE: 6/3/2022
"Amazingly psychedelic quartet session by two Japanese players (Junzo Suzuki and Mitsuru Tabata) and two Belgians (Bart De Paepe and Jan D'Hooghe.) Originally this was recorded as a trio, while Junzo was touring Europe in March 2020, but he passed the tape to Mitusri (his partner in the gorgeous acid folk duo, 20 Guilders) to add bass. And we're glad he did, 'cause the low-lunar notes Tabata generates kinda keep the music from floating off into space. We'd been trying to do something with Bart (who runs the Sloow Tapes concern, among many other projects) for a while. And we flipped out when we heard this session. The twinned electric guitars (from Bart and Junzo) are massive thrashing sky whales of sound. Both these guys are known for psychedelic vision mass, but they really take it to another level here. Urged along by D'Hooghe's rock solid percussion (which was a new one on me, since he's known more for his electro work) and Tabata's wonderful bass playing (which doesn't feel in the least like an add-on), the guitars explode like variations on all the best Japanese acid flash. Without really referring to any specific precursors, Macula Kuru (a name that refers to a goddamn eye disease of all things) really nail the open possibilities still available to guitar psych players who are willing to tug on the loose threads of the cosmos. Not sure what's going on with these guys right now. Junzo Suzuki was in a serious accident earlier this year, and we can only wish him a very full recovery. But if music is the healing force of the universe, he should be in good hands. Because Macula Kuru's music is on a par with anything he's ever done. And he has been in some HEAVY outfits. Nice one!" --Byron Coley, 2022
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CD
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GY12 001CD
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$16.00
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RELEASE DATE: 6/3/2022
"Artists are not athletes. The career of the athlete is, by mortal necessity, compressed and brief. No one expects to see a professional slugger in their sixties out on the diamond, much less see them vying for a pennant. Artists, on the other hand, tend to age like wine -- think Dylan, Cohen, and Cash -- with the most rarefied among them capable of swinging for the fences with every at bat. Omaha singer-songwriter Simon Joyner, who recently turned fifty, is such an artist, and while I'd certainly enjoy seeing his face grinning at me from a box of Wheaties, I'd rather he continue making albums like Songs From A Stolen Guitar. Songs From A Stolen Guitar was recorded across several different cities. Joyner recorded his vocals and guitar live in Omaha; bassist Wil Hendrix added his parts at home in San Francisco, Michael Krassner recorded his guitar and piano overdubs at home in Phoenix, and drummer/percussionist Ryan Jewell recorded in Colorado. This musical chain letter then made its way back to Omaha where David Nance (guitars and backing vocals), Ben Brodin (organ and vibraphone), and Megan Siebe (viola and backing vocals) overdubbed -- separately -- their respective contributions The remoteness of the individual players on Songs From A Stolen Guitar, while necessarily eliminating some of the ragged spontaneity of much of Joyner's previous work, yields a sort of silver-lining effect: Joyner's songs, produced more meticulously and perhaps more intentionally here than on any of his previous albums, cut through that much cleaner, foregrounding both his dazzling wordplay and his clarity of vision. If Ghosts [2012] was his Tonight's The Night -- clamorous, naked, and unmoored -- Songs From A Stolen Guitar may just turn out to be his Harvest." --James Jackson Toth aka Wooden Wand
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LP
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GY12 001LP
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$25.00
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RELEASE DATE: 6/3/2022
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LP
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HOS 706LP
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$27.50
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RELEASE DATE: 6/3/2022
Born in 1996, Ames Sanglantes is known from numerous splits and massive amounts of cassette releases including work on Xerxes, Labyrinth Recordings, MSBR, The Rita, Hermit, Autoerotichrist, Alberich, Flutter, Bob Marinelli, and Guilty Connector, despite never having a proper vinyl release until now. In commemoration for the project's 25-year anniversary, Hospital Productions present an assaulting LP of madness clearly following a trajectory from Masonna "beauty beast" voice noise agony and damning it through the lens of the lesser-known deformed cassette world of the late '90s and early 2000 tape scene. Unreasonable filters, abusive wine bottle rattles, creepy spacey backgrounds interrupted by knife stabbing metal sheets twisted and gouging in tandem to broken tea cup vocals. Minimalist in palette but a dynamic self-destructive energy cut across a series of "crucifix noise" tracks. Includes download code; edition of 666.
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CD
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ITR 363CD
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$15.00
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RELEASE DATE: 6/3/2022
"Ancient Greek philosopher Heraclitus is attributed with the quote 'The only constant in life is change' and nothing sums up Chip Kinman's latest creation -- or his entire career -- quite as well. Like each of Chip's musical incarnations, The Great Confrontation seemingly has no connection whatsoever to the work that preceded it...unless the listener is savvy enough to spot the deeply buried but always present through lines. The tracks on this album are wildly alien in every applicable sense of the word. The opener, 'Let's Go, Dark Shark' sets the scene with drippy, space age chirping that slowly degenerates into slo-mo sludge like an astronaut running out of oxygen. 'Ciao Raggazzi' -- not to be confused with Jay And The Americans' 'Good Bye Boys, Good Bye (Ciao Raggazzi, Ciao)' is a derailing train of a song. The vocals are spoken in Italian and presumably, snatches of conversation sampled from a Mafia crime film. Speaking of crimes, Chip murders a couple of standards in cold blood purely for his own amusement. Both are traditional and absolutely unrecognizable. 'Round About Danny' is his take on the Irish ballad 'Danny Boy', written in 1913 and recorded relentlessly through the years by everyone from Judy Garland to Conway Twitty. The other's a gospel hymn, 'Will The Circle Be Unbroken', originally performed by The Carter Family in the 1920s. Imagine both songs sans vocals, filtered through a particle accelerator beam shot by a rogue robot from a 1950's sci-fi B movie. Then pretend they got reinterpreted by a hippie in a ratty flea market cape who borrowed a Moog synthesizer so he could emulate Rick Wakeman from the prog rock band Yes. The hippie not only had no working knowledge of playing a synthesizer, he was tripping his brains out on Owsley's premium LSD. This album is all a huge departure from anything he's ever done -- but for Chip, that's normal. I'm sure of this because I've known him since 1977, witnessing all his musical mutations and in many cases, the sources that inspired him to prolifically create original, cohesive and boundary-pushing sounds. As the old saying goes, what he's done consistently is often imitated but never replicated." ?Pleasant Gehman
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2LP
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ITR 363LP
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$26.00
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RELEASE DATE: 6/3/2022
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LP
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KRY 025LP
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$22.50
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RELEASE DATE: 6/3/2022
The great wealth of multifaceted skills is Ralph Heidel's core identity, evident in the attempt to classify his music into a genre. Drone jazz, organic glitch, neo-classical, jazztronica, all these terms apply when we read about his music. He began his career as a saxophonist and by now has also become a highly requested composer and arranger for a wide variety of productions. The 28-year-old musician was signed by Mathias Modica for the Kryptox label, while he was still studying at the Musikhochschule München. Heidel released his debut album Moments of Resonance (2019) with his eight-piece ensemble Homo Ludens, followed by his EP Relief (2021). This grandiose prelude received applause on an international level. From neo-classical and ambient artists like Carlos Cipa and Josin, to German Indie acts like Drangsal and All diese Gewalt, Ralph Heidel has been featured on many albums. His wide range of artistic ability and curiosity was also demonstrated by his collaboration with a big star of the German rap scene, Tarek. Ralph Heidel rearranged the album Golem for a chamber music ensemble. The Golem Sessions album then, was released in 2020. Thanks to Heidel's precise work, it has been proven that rap and a chamber music ensemble, ambient and trap can complement each other. Heidel's name became well-known within the scene which finally made him 2022 the musical director of Casper, one of the most famous rappers in Germany, and his band. The official tour will start in March 2022 under Ralph Heidel's leadership. However, Ralph Heidel's creative drive seems to be inexhaustible. Which now made him finish his new album Modern Life. Together with one of the currently most important indie and pop producers, Max Rieger, Heidel created his latest masterpiece. Modern Life is the further development of the compositional debut album Moments of Resonance and the predominantly electronic EP Relief. The piano and the string arrangements are back. He uses a vintage piano from the 1960s, which he recorded in his apartment in Berlin. Its distinctive character delivers an outstanding mood to the album. The result is an unmistakable sound that, in combination with his main instrument, the alto saxophone, bears Ralph Heidel's hallmark. As further components he uses small-scale, organic percussion, soft synthesizer surfaces, noisy loops and fragmented vocal samples. "Admiring" features Plateau Green. For fans of: Olafur Arnalds, Nils Frahm, Kaitlyn Aurelia Smith, Four Tet, Floating Points.
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CD
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NOTON 051CD
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$18.00
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RELEASE DATE: 6/3/2022
Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with summvs in 2011, NOTON reissues all the five albums between June and October 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo has explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings are made available under the title Remaster, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai. In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S.
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2LP
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NOTON 051LP
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$40.00
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RELEASE DATE: 6/3/2022
Double LP version. Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with summvs in 2011, NOTON reissues all the five albums between June and October 2022. With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002), Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo has explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered. Remastered in collaboration with Calyx Mastering, the recordings are made available under the title Remaster, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai. In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S.
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LP
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OUTS 016LP
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$31.50
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RELEASE DATE: 6/3/2022
This gig, taped at the Warehouse in Preston, took place during the final round of UK dates Joy Division was to play before jetting off to the US. The live captures the band raw sound with Ian Curtis's haunting vocals. It's raw and powerful, a glimpse into that gig in February 1980 which became a live album. Translucent blue vinyl.
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12"
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PERMVAC 246EP
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$16.00
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RELEASE DATE: 6/3/2022
Completely new mastered vinyl re-issue of the classic and highly sought-after New Jackson EP from 2011.
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12"
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RR 004LP
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$22.50
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RELEASE DATE: 6/3/2022
California-based label Ritual Release introduce new and as-yet unknown duo Guruku. Love Runaway is their debut EP and comes with remixes by disco don Ray Mang. Title track "Love Runaway" features criminally underheard Tamara Lee on vocals and co-writing duties. LA funk/R&B/future twang auteur Harriet Brown (Innovative Leisure, Phantom Island, World Building) provides guest vocals on the EP's second original track, "Crimped Hair". On the flip, Ray Mang delivers a masterclass in honing "Love Runaway" for peak dancefloor effect in a choice of extended remix or dubby reprise. "Absolutely essential release. A really good song is turned into a modern disco monster by Ray Mang, channeling Prelude Records circa 1982." --Bill Brewster (DJ History, UK). For fans of: Maurice Fulton, The Vision, Dreamcast, Star Creature.
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12"
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SNDST 100EP
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$12.50
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RELEASE DATE: 6/3/2022
Second State founders Pan-Pot mark the Berlin label's 100th release with the three-track EP Skin On Skin. Berlin based duo Pan-Pot begin 2022 with a momentous milestone for their Second State imprint, including a fresh look for the long-standing label. The winning design by Philipp Ludwig was chosen out of hundreds of entries after the label launched a contest for this very special release in November of last year. Skin On Skin marks Second State's 100th release and showcases the variety of different sounds homed by the label since 2014 with three fiery contrasting cuts from its founders, giving a nod to the range and expression that Pan-Pot's imprint has come to be known for in today's techno scene. Raw cut "Skin On Skin" takes position as opener. Resonating bongos and rattling shakers incite a tribal element while ominous synths begin to unfold. Sandra Bjurman's taunting, faintly distorted voice comes in, claps and growling organs are layered over while metallic ringing gives way to the vocal once more. Twisted elements and the resonating drums are revived for the finale, closed out by a soaring Balafon. "Particle Fever" is next, kicking off with a resounding, impactful kick and gritty elements: jumping bass line and metallic stabs that ring out and halt swiftly. Yelping keys call out during the breakdown halfway through, exploding back into original pace with the addition of a weighty bass line and stripped back grittier elements. The closer "Bow" is characterized by warped and pulsating elements that march forward menacingly. A rumbling bass snarls beneath metallic strikes, an oscillating spring synth and a sliced up and brooding sample, injecting a haunting element. Grumbling synths hover buoyantly throughout, as the kick and mechanical elements continue with authority.
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LP
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WWSLP 060LP
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$31.50
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RELEASE DATE: 6/3/2022
Wewantsounds release Sharayet El Disco a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ Disco Arabesquo from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, Sharayet El Disco (which can be translated by "Disco Cassettes") features Simone, Ammar El Sherei, and more obscure names from Cairo's cassette culture. Sharayet El Disco is part of an important mission for Moataz Rageb aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as Oum Kalthoum, Abdel Halim Hafez, and Warda take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including Mohsen Gaber's Alam El Phan, Sout El Hob, and Americana. Sharayet El Disco gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of "Hezeny" by Hany Shenouda's Al Massrieen band to the boogie of Simone's "Merci", via Firkit El Asdekaa's tongue-in-cheek "Eklib el Sheriet" ("turn the cassette to the other side"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by David Hachour/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer Heba Tarek. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by Moataz Rageb. Also features Afaf Rady, Dr. Ezat Abou Ouf & el four M, FIrkIt el Ensan, Eman el Bahr Darwish, Firkit Americana Show, and Lebleba.
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CD
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AGIT 061CD
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$24.00
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RELEASE DATE: 6/10/2022
"The Stylist, Kelley Stoltz's seventeenth album finds him following up the Third Man Records reissue of his 2001 Antique Glow with a collection of ten new songs. The album was recorded early in 2021, and has been languishing in the vinyl pressing log jam ever since -- luckily Stoltz writes timeless songs, the kind that might've appeared on the fringes of the late '60s or mid-80s. Acoustic guitars, synthesizers, drum machines and strong melodies abound. As with his other classic records Below The Branches, Double Exposure and Ah! (etc), Stoltz plays most of the instruments himself and records in his home studio in San Francisco. Kelley says, 'I chose the title The Stylist because musically I guess that's what I am... because of the way I write, at my leisure over a period of months at home, I kinda flit around between styles. It's all in the pop-rock vein, but there's usually a wide range of sounds and inspiration from song to song. It sort of fits together in a mix tape kind of way, rather than an exploration of one particular mood. That's always been the case with my albums.' Thankfully, after twenty-three years the beat goes on... and no matter what style Stoltz chooses, The Stylist is another platter of tuneful delight in the impressive catalog of one of the great songwriters of the time."
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LP
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AGIT 061LP
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$31.00
PREORDER
RELEASE DATE: 6/10/2022
LP version. "The Stylist, Kelley Stoltz's seventeenth album finds him following up the Third Man Records reissue of his 2001 Antique Glow with a collection of ten new songs. The album was recorded early in 2021, and has been languishing in the vinyl pressing log jam ever since -- luckily Stoltz writes timeless songs, the kind that might've appeared on the fringes of the late '60s or mid-80s. Acoustic guitars, synthesizers, drum machines and strong melodies abound. As with his other classic records Below The Branches, Double Exposure and Ah! (etc), Stoltz plays most of the instruments himself and records in his home studio in San Francisco. Kelley says, 'I chose the title The Stylist because musically I guess that's what I am... because of the way I write, at my leisure over a period of months at home, I kinda flit around between styles. It's all in the pop-rock vein, but there's usually a wide range of sounds and inspiration from song to song. It sort of fits together in a mix tape kind of way, rather than an exploration of one particular mood. That's always been the case with my albums.' Thankfully, after twenty-three years the beat goes on... and no matter what style Stoltz chooses, The Stylist is another platter of tuneful delight in the impressive catalog of one of the great songwriters of the time."
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CD
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BB 403CD
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$16.50
PREORDER
RELEASE DATE: 6/10/2022
Composer and conceptual artist Conrad Schnitzler (1937-2011) was one of the most influential figures of the electronic avant-garde in Germany. In 1967/68, the Joseph Beuys student founded the Zodiak Free Arts Lab, which became a playground for Berlin subculture. In addition to numerous solo releases Schnitzler was also involved in various band formations not least Tangerine Dream and Kluster. Representing another of his musical landmarks are the Consequenz releases. Consequenz II emerged from a collaboration with Wolfgang Seidel alias Wolf Sequenza, and is the follow-up project to Consequenz (BB 121CD/LP) which was a low-budget production that had an overriding aim of liberating music from its elitist circles in a "Beuys-ian" sense. Consequenz II returned to the theme with electronic apparatus that professionalized the sound but by no means reduced the fun he found in experimentation.
"... Schnitzler had studied sculpture under Joseph Beuys and the statement echoed his teacher's philosophy: 'Everyone is an artist.' The flyer continued in similar vein: 'ERUPTION are freeing the prisoners from their ivory towers.' Schnitzler viewed art as social practice, not the realm of specialists. Anyone could get involved. You didn't even need to be able to play an instrument. The flyer also announced: 'Members of the audience who bring transistor radios will get reduced admission if they play music on their radios inside the venue.' That was back in 1971, ten years before we produced and recorded the Consequenz LP. We included instructions inside the sleeve for setting up just such a project with the minimum of technical fuss, inviting submissions which used the record as a playback tool . . . We had almost resigned ourselves to life in the ivory tower when a letter from a Spanish label (Esplendor Geometrico) reached us, asking for a sequel -- Consequenz II. It didn't take long for us to decide to accept the offer, encouraged by the fact that we would not have to finance the release out of our own pockets -- as had been the case with the first Consquenz. Certain 'secret devices' had materialized in our ivory tower in the meantime. Conrad Schnitzler had purchased an 8-track recorder with money he had earned from 'proper' art. I borrowed various bits of equipment from my band -- Populär | |