LP version. Includes CD. Entirely written, played and produced by Metronomy himself, Summer 08 finds the multi-instrumentalist reflecting on his experiences around the time that Metronomy first landed a major breakthrough with Nights Out (BEC 5772370/5772393, 2008) -- the guilt of missing key moments in loved ones' lives and the confused mania of finding himself a critical darling. It's a concept that's been gestating ever since, but the opportunities and challenges that resulted in the expansive, ambitious and Mercury Prize-nominated The English Riviera (BEC 5772894, 2011) and the Motown-inspired Love Letters (BEC 5161817/5161823, 2014) understandably took precedence. "I wanted to make another record with the naivety of Nights Out: ten tracks, straight up, upbeat. Write another banger, then another, and don't really think about it." Summer 08 is a mature, eclectic pop record in the vein of OutKast, David Bowie and Daft Punk. Recorded in Black Box Studios in France with mixing courtesy of Bob Clearmountain (Bruce Springsteen, David Bowie) and Neal Pogue (OutKast), it's the most daring and creative Metronomy album. The album's first single "Old Skool" is a cowbell-clattered cocaine pop belter that glimpses '00s London from the backseat of an Addison Lee. It descends into a chaotic scratch frenzy courtesy of Beastie Boys' turntablist and Mount's childhood hero Mix Master Mike. As for the lyrics: "I was living in East London in 2008 and felt like all this stuff was happening in the West end. It's nonsense really, but I felt it was this privileged end of town, all the musicians there had wealthy parents and were living in Ladbroke Grove and Notting Hill. So that song's about being totally idiotic and just jealous." "Night Owl" is even more immediate as its disco-groove - at once laidback, then nervously on edge - captures the ambience of a downbeat soul lost in the nocturnal summer swelter of the capital. Elsewhere, there's warbling festival anthem-in-the-making "Miami Logic", which sounds like "Word Up" as performed by Devo; an early East-Coast hip-hop rough ride called "16 Beat" about a love affair between man and drum machine; and a brilliant moment of Bowie worship titled "Mick Slow". It's the album's duet with Swedish superstar Robyn, "Hang Me Out To Dry", mixed by Erol Alkan, that's the songwriter's favorite though.
Rabid consists of six tracks mixed by Phillip B. Klingler, aka PBK, between 2004 and 2006 using Wolf Eyes source material, this is the Wolf Eyes lineup of 2000 to 2005: Nate Young, John Olson and Aaron Dilloway. Klingler: "I was given the audio sources (via cdr) by John Olson at the Ear Candy Festival in Dearborn, Michigan, in 2004. None of the compositions on the album were completed using a computer, they were all recorded live in my home studio or at gigs and radio shows directly to digital." Three of the pieces on the LP were previously released in Russia on the CD, Under My Breath in 2009. Also in 2009, the American Tapes label run by John Olson released a CDR of the PBK & Wolf Eyes collaborative tracks as part of the ongoing "Live Frying" series. Later, Rabid was available for a brief time as a net release. One review from the time stated: "Not a single track passes by without conveying grisly and creepy sensations of imminent death or disaster." Mastered for vinyl by Giuseppe Ielasi and with the beautiful cover illustration created by Pole Ka. American composer, Phillip B. Klingler, better known as PBK, has been active in the experimental music underground since 1986. His compositions are created using extreme turntable manipulation, sampling, analog and digital synthesis. Improvising spontaneously and with little preconception, PBK creates pulsing, dense soundscapes of unknown sonic origin. Wolf Eyes is a post-industrial/noise band from Detroit, Michigan. They are widely considered the "kings of US noise." "Their development since the earliest rumblings in 1997 has yielded some of the most staggering and genre-defining sounds of noise and sound art's dense, largely obscured history." -- Allmusic.
Dub Mir present the first reissue ever of Dub Landing (1981) by Scientist. Produced by Linval Thompson, mixed by Scientist and first released in 1981. The wonderful Dub Landing starts out with an exceptionally powerful dub reformation of Al Campbell's "Unfaithful Children" showcasing Scientist's exceptional skills of deconstruction and reconstruction. Scientist at his best on Dub Mir. Remastered by Hopetown Overton Brown. Contains a bonus CD. 45rpm - audiophile edition.
"One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can't be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song 'Uptown' for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty's career would be her unbending DIY ethic, which made her quickly turn down anyone who didn't fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix -- personally inspiring the classic album, Bitches Brew. Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia's 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions -- never heard, never bootlegged -- predate Miles' revolutionary album, Bitches Brew, and are the true birth of Miles' jazz-rock explorations, along with the roots for Betty's groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers. The vibe is intrinsically unique, fresh, and futuristic -- jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn't be fully realized until years later with Miles' seminal On The Corner. Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders -- including trombonist Wayne Henderson and pianist Joe Sample. All tracks previously unreleased (except track B5/8). Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders. Remastered from the original analog master tapes.New interviews, rare photos, and unseen historical documents from the Teo Macero archive."
"A new LP by the great Michael Hurley! Michael is one of the world finest and most prolific songwriters - and he's still cranking out hits. The well is far from dry. This LP features home recordings with Michael on guitar, banjo and organ. Sublime and sometimes a little strange - a new classic for the ages. Songs include the Kentucky 3 - a beautiful instrumental medley of songs evocative of Kentucky, Charona - a great banjo ballad, Tender is the guitar - a mournful organ driven ballad, Boone and Jocko - a longstanding favorite epic from Michael's live sets on record at last, Cuckoo Rock and Lo Bonney - two unique rewordings of traditional ballads, Dragging the Indian - a stark instrumental, and much more. Don't sleep on this work of genius. Cover art by Michael himself."
2x12" version. Dancing Therapy is the breathtaking debut album by Spacetravel. Hardly has the connection between an artist identity and a work title evoked the mood of the corresponding music so spot on like on this Perlon stimulant. Triggering just the right senses, these eight fabulously swinging mecano-tracks from dark-blue funk laboratories hit the alert button, widen the attention span, and hone gut-instincts as dancers encounter the floor as if it was their first time. Out of arcane niches - real or imagined, nobody dares to imagine - where it seems no sound has been expected before, surges of quirky, cuddly signals and noises appear to travel through bass-saturated space and propagate shudders of sneaky delight. Dancing feels like forgetting all habits and lose orientation to stumble straightforwardly into the reward center.
Shadoks Music present the first ever reissue of Burnin Red Ivanhoe's M 144, originally released in 1969. Burnin Red Ivanhoe is a Danish progressive rock band which was formed by Karsten Vogel in 1967 in Copenhagen, Denmark. After a couple of years touring, the band were signed by the Sonet label in 1969 and released their debut album M 144. In the UK, the group's record distribution was done by Dandelion Records after John Peel heard their debut album and receiving some positive write-ups in the Melody Maker. After several albums, the group split in 1974 with Karsten Vogel forming Secret Oyster. M 144 is one of the earliest (if not the earliest) progressive rock albums of Scandinavia and certainly of Denmark (along with Culpepper's Orchard's self-titled released 1971). Resolutely rock in spirit, the album oscillates between the blues, soul, jazz (or more likely jazz-rock) and many more folkloric styles, without actually being "folky". The blues-rock and strong psych-folk influence is demonstrated in most of the shorter tracks. Considering the band had been together for two years prior to recording M 144, it's not surprising that they had enough material to fill a double album. Presented in a heavy gatefold cover with the original pop-up sleeve. Includes a printed inner sleeve and a two-page insert with extensive liner notes and many unseen photos. 180 gram vinyl. Edition of 600.
"Signed to Atlantic Records in the hubbub after Nirvana's Nevermind (1991) exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like 'Honeybucket' received MTV airplay. First time on vinyl since 1993. Mastered directly from original analog tapes. Six tracks produced by Kurt Cobain. Cover art by legendary artist Frank Kozik. Includes the vinyl-only bonus track ''Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)'' originally by the MC5. Gatefold sleeve. 180-gram BLACK VINYL."
On Acid Test 11, Tin Man, AKA Johannes Auvinen, arrives on a seamless pairing with Manchester production duo Jozef K and Winter's Son. On the title track, Tin Man's acrobatic 303 no longer has to do the melodic heavy lifting - the Mancunians provide a sturdy yet plaintive piano base that allows a duet of acid lines to cut through the heady atmosphere. Erika toughens things up considerably with her "Fates Unknown" remix, stripping things back to a creepy, jacking core. "Pendle By Night" underlines the trio's propensity for widescreen heft with an epic, emotional tone.
Triple LP box set version. Cinedelic records present a reissue of one of Egisto Macchi's major works, Biologia Animale e Vegetale, produced by Renato Pent. Biologia Animale e Vegetale was recorded in Torino in 1976 and originally published as double LP. Egisto Macchi, often remembered as a member of Gruppo di Improvvisazione Nuova Consonanza, the historic Italian improvising collective (that also included Franco Evangelisti and Ennio Morricone, among others), was a major figure within the contemporary music field from the fifties to the eighties. The life path of Egisto Macchi seemed to be devoted to the multiplicity of aesthetic choices and musical expressions. While tracing his life and work, one notices an interesting duality based both on a very inclusive approach towards all kind of expressive needs and full control of the level of communication. A complex personality revealing the coherence of a man trying to connect elements usually kept separate; the inherent need for approaching different sources and the ability to be inspired by a wide range of intuitions. Macchi has explored and experimented in the field of sound and music without ever forgetting about his moral and civil engagement. His compositional work takes shape from the idea that music and arts should be able to create a symbiotic contact between the creator (composer) and the beneficiary (listener). All his work finds its origin in the need to integrate the sound language with the feeling of a new developing society. In fact music was just one factor in a more complex chain which included his humanistic and sociological engagement; a syncretic philosophical narrative and a symbolic tale revealing deep anthropological aspects. The 3LP box set is a limited edition of 600. The 3LP box set also comes as 180 gram vinyl and includes a download code.
Andy Moor (guitar) and Yannis Kyriakides (computer) lovingly deconstruct and reassemble their favorite rebetika music in a set of nine pieces that encompass a wide scope of musical vision. This is an unusual and original take on the so-called "blues" music of the Greek diaspora of the early 20th century. This live set was recorded in 2006, first released as an exclusive download for the UK-based Seven Things download-only label, released on CD by Unsounds in 2010, and is now available on vinyl for the first time.
LP version. Connecticut's Landing have specialized in a mild and rural kind of psychedelia since the late '90s; they have since moved closer to post-punk and shoegaze territory, but Third Sight -- recorded specifically for El Paraiso Records' Impetus series -- builds on the hallucinatory soundscapes of the band's earliest days. There's a unique sense of motoric drift to these four long pieces, and an organic blend of rock instrumentation and analog electronics that brings to mind Eno's best collaborations in the 1970s. But the group's flair for fuzzy drones and commune-folk also betrays their affiliation with the experimental American east coast scene -- these guys have played shows with their friends in Bardo Pond, released a split EP with Windy & Carl, and played numerous Terrastocks throughout their existence. And despite releasing one brilliant album after another, the band remains appallingly underappreciated. Perhaps because the tryyps Landing take are rooted in self-exploration. As trends in krautrock, drone, folk, and psychedelia ebb and flow, Landing remain unfazed. The door to Landing's world is open, but there isn't a flashing neon sign above it. These guys are far removed from the hustle and bustle of geographic cultural bubbles, both physically and spiritually. Listening through this LP is likely to stimulate mental images of rural winds blowing across vast American fields of grass, bonfires, blue rivers and power lines sailing through rolling hills. Landing's psychedelia possesses a rare timelessness.
Return to Mechanics
The final track on CoH's release, Music VOL. (EMEGO 222CD) is titled "Return to Mechanics", connecting the two. This EP contains a set of bouncy, slouchy robotic grooves, full of tweeps and pneumatic, rubberized squelches that were too energetic to be on Music VOL. Return to Mechanics also includes a reimagining of Donna Summer's classic track "I Feel Love". Each track on the EP is a free-time computer based composition. Mastered and cut by Rashad Becker. 150g vinyl in full color. Direct-to-board jacket with gloss varnish finish - designed by Joe Gilmore and Cameron Shafii.
River In Me is the first single taken from Trentemøller?s new album Fixion. It features Jehnny Beth of Savages on vocals, while Trentemøller contributed his own rework for the B-side. Swedish director Åsa Riton and Swedish artist Andreas Emenius created an outstanding video for ?River In Me? which will be published upon the release of the single.
The Cramps live at New York's Club 57 on August 18th, 1979. These larger than life figures graced the stage of New York's legendary Club 57, standing on the brink of a wider stage, namely the world. The Cramps quickly became one of America's finest subculture manifestations, bred from the madness of '50s and '60s B-movie trash at the turn of punk, Lux Interior and his motley crew of proto-gothic punks tear off heads with a slew of Dick Dale and Sonics salutes amidst sordid contortions. Above all, The Cramps were a live band, a cabaret of B-movie histrionics and debonair, pursuing a lurid sexual gratification. Lux Interior in particular, personified, and externalized what lurked behind the snarl of every rockabilly hero. Interference presents the entire WPIX-FM broadcast of a legendary early performance by The Cramps at New York's Club 57 in the Irving Plaza from August 18th, 1979. Captured in their ultimate prime and before the release of their debut Songs The Lord Taught Us (1980). Professionally remastered. Includes background liners and superb rare archival photos. Hand-numbered and pressed on green, 180 gram vinyl.
Recorded in Stockholm on October 25, 1962, this session is one of Albert Ayler's earliest recordings, and features a European backing group he assembled during his brief stay in Sweden before returning to the States in 1963 and beginning his legendary run with ESP-Disk' and Impulse! Though his genius is not yet fully formed, one can easily hear he's headed that direction, and this rare and long out-of-print recording is an essential piece of the history of one America's most uniquely lyrical voices on the saxophone.
"Philip Charles Lithman aka Snakefinger was born in London, England, and moved to the USA in 1971. He is known for his solo work and for his guitar playing with The Residents. It is said he was given the name 'Snakefinger' by The Residents based on a photograph of Lithman performing, in which his finger looks like a snake about to attack his violin. In 1972 he moved back to the UK to form the blues rock band Chilli Willi and the Red Hot Peppers. Because sales of their second album were poor, he returned to America. Chewing Hides The Sound was his first solo album and came out in 1979 on Ralph Records. It includes songs composed together with The Residents as well as cover versions, such as 'The Model' by Kraftwerk or 'Magic and Ecstasy' by Ennio Morricone. It was the first record to showcase Lithman's distinct slide guitar playing. The cover was created by Ralph Records in-house designers Pore No Graphics. Klanggalerie are now proud to present you the first CD re-issue since 1999. The music has been remastered, and we added three bonus tracks from the same time as the album: 'The Spot' was a single A side from 1978, 'Smelly Tongues' its B-side and 'Talkin' In The Town' was the B-side to 'The Model'."
Soprano saxophonist Steve Lacy continued his early exploration of Thelonious Monk's compositions on Evidence, originally released in 1961. Lacy worked extensively with Monk, absorbing the pianist's intricate music and adding his individualist soprano saxophone mark to it. On this release, he employs the equally impressive Don Cherry on trumpet, who was playing with the Ornette Coleman quartet at the time, drummer Billy Higgins, who played with both Coleman and Monk, and bassist Carl Brown. Cherry proved capable of playing outside the jagged lines he formulated with Coleman, being just as complimentary and exciting in Monk's arena with Lacy. Out of the six tracks, four are Monk's compositions while the remaining are lesser known Duke Ellington numbers: "The Mystery Song" and "Something to Live For" (co-written with Billy Strayhorn). Edition of 500.
High Water presents Crush. Crush is great flood music, an emotional deep-dive by way of sonic spell. It is the debut album by High Water high priest Will Epstein, who has strung his folksy, bare-souled heart-songs across a starry firmament and into a bottomless blue. The sound is a mongrel, electro-acoustic jazz: crisp production that cradles Epstein's silvery holler and the finger-picked click-clack of his electric Rhodes piano. His distinctive, loping cadence cuts through the noise and ferries us up a pilgrim path, yearning for a present truth, a pure love. He's recorded and performed with Nicolas Jaar, a dear friend since childhood. The High Water multi-instrumentalist solo-style gestated while opening up several tours for Darkside, Jaar's band with Dave Harrington. John Coltrane is his patron saint, and John Zorn his relentless guru. He has grown a deep love for Bob Dylan and his endless, shape-shifter's myth. These three titanic influences share a spiritualism, a volatile energy to create and destroy the self, to sublimate raw humanity into something impossible and eternal. Familiar sounds are stretched past their limits, and lyrics are charged with the power of a ritual text. These nine songs are incantations that conjure little worlds, micro-cosmos, circular love letters. Epstein employs elemental language, as well as the oblique Americana of railroad songs, rising rivers, and "sleepwalking through the pines." Crush is a beguiling, evocative music that, from track to track, recalls a series of short films, a sculptural forest, or a kaleidoscopic fever dream. The gentle lull that begins "Moonlight Mind" kabooms into a pulsing beat with a soulful twitch. Snappy drums are chopped and reassembled; Harrington's guitar pinches tones in bit-crushed screams and inspired blue country twangs. The soft "Forecast," pooled in reverb, spikes under synthesized high beams and sputtering organ. A guttural sax masquerades as a digital insect frantically cleaning its mandibles. A soft-dub rework of Lucinda Williams' "Changed the Locks" confirms the love/hurt essence of Crush. Ancient murals spell "Seattle," a distant place where sensual heat is felt and peaceful melodies fume out of dark tombs. Through all this and the last three songs-- the contemplative final stanza--the prevailing imagery is that of the rain. The album is laced in a life-affirming naturalism, and whenever the gale-force productions come to a head, the pillowy clouds of sound burst into a cleansing shower, drizzling like a granulated rainstick.
Aktuel Musik is the second release from Danish duo Kyo (Hannes Norrvide and Frederik Valentin). Following their 2016 Posh Isolation debut, Potentiel Musik, Aktuel Musik presents eight pieces of emotive and luminesced experimentation. Utilizing electronics, acoustic motifs, and aching instrumentation for -- most prominently -- woodwind and piano, Kyo softly unfold the structures that bind their work to the many genres being addressed. Romantic synth lines submerge free jazz drumming, playfully scattering an appeal to the cerebral in the sensuous. The most brilliant aspect of this lies in one of the record's most pointed qualities: the incredibly subtle use of dissonance, which compresses the enveloping sense of introspection in Aktuel Musik into diamond form. The whispered field recordings corral the moments of listless instrumentation into snapshots of a cosmic metropolis. This is most keenly felt in the orchestral swells that fall away to reveal a soloist on a decaying pedestal, improvising their fate.
H.U.M. marks the convergence of a triad of kindred spirits with a common goal of expanding consciousness. On Trinity Way, their debut release for Rocket Recordings, the cosmic/terrestrial musician/magician triumvirate of Heloise Zamzam, Olmo Uiutna, and Mark Wagner delves into ritualistic audial travelogues that unite mantric repetition, concrete noise, and kosmische explorations, the better to transform and enrich the soul. All three acolytes of H.U.M. arrive at this destination from a rich history of experimental music and art; Heloise Zamzam and Olmo Uiutna run the formerly Bristolian and now France-based Zamzamrec, which, besides being a record label specializing in tape releases by artists working in psychedelic realms and beyond, they characterize as "a superfuture network, a community of musicians, storytellers, scientists, writers, poets and dreamers." Mark Wagner, meanwhile, has involved himself in a diverse and vibrant litany of projects, including time touring as a member of Gnod and Ahrkh Wagner, and is an active practitioner of music as a spiritual medium. Following the limited-edition 2015 We Are One cassette on the Bumtapes label, Trinity Way marks the most expansive and intrepid ascension yet for these psychic travelers, using primal rhythm, earthly resonances, and devotional oratory as pathways to uncharted dimensions and higher metaphysical realms. These trance-like meditations and illuminating visions draw on a plethora of earthly parallels, from the iconoclastic writing of Rimbaud or Artaud to the occultist sound-world of Coil; from the invigorating DIY ethos of the Not Not Fun label to the anarchic sprawl of The Faust Tapes -- and with Wagner's stream-of-consciousness incantations inviting comparisons to both Robert Calvert and Genesis P-Orridge. Yet influences come also for further afield, as testified by "L'Ame Agit" -- a mysterious rework and ode to Françoise Hardy's 1968 classic "Comment te dire adieu" -- and "Cat-Man-Do" which uses Heloise Zamzam's recordings of a shamanic initiation in the Colombian jungle to help conjure an overwhelming air of hypnotic momentum. Altogether on another wavelength from most of what is dubbed psychedelic music in the 21st century, Trinity Way is a free-flowing odyssey of vivid, hallucinatory intensity. Through a marriage of simple ingredients, these three have created an off-the-map album which nonetheless places its feet on the ground and its gaze on the cosmos. As Heloise Zamzam herself says, "Trinity Way is a magic door, a sonic portal. Trinity Way is not an escape of the everyday realm but an entrance, a mode, an invitation. . . ."
Have you ever imagined what a meeting between the Silver Apples and Sonny Sharrock would sound like? In 1974, Jean-Jacques Birgé, one of the first French synthesizer players (ARP 2600) along with Francis Gorgé, virtuoso guitarist, created some unique improvised pop music. The unreleased and flamboyant recordings featured on Avant Toute would be the source for the cult 1975 Défense de album by Birgé, Gorgé, Shiroc before founding Un Drame Musical Instantané with Bernard Vitet. Limited edition of 700 black & white vinyl. 350 gram sleeve. Obi Strip. Insert with photos and liner notes by Jean-Jacques Birgé & Francis Gorgé.
Under the Influence Volume Five: A Collection of Rare Soul and Disco
Double LP version. Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years through the ever-popular Under The Influence series. Following on from Red Greg (ZEDD 024CD), Paul Phillips (ZEDD 027CD), James Glass (ZEDD 029CD) and Nick The Record (ZEDD 032CD), it's now the turn of another of the worlds most respected record collectors to put together their selection. This time it's long time Z Records album co-compiler Sean P. Alongside Joey Negro, Sean P has been responsible for some killer selections for their Soul of Disco (ZEDD 007CD, ZEDD 010CD) and Supafunkanova series (ZEDD 012CD, ZEDD 012LP, ZEDD 034CD, ZEDD 034LP), all of which feature tracks from Sean's vast record collection. He has been collecting records since his early years, producing and releasing his own edits way before they became the norm and is widely recognized as one of the foremost fountains of musical knowledge so to say he is a stalwart of the underground music scene is well deserved. For his Under The Influence album he goes even deeper and much more across the board with tracks taking in afro, soul, funk, disco, Brit-funk, dub and jazz with many of the tracks costing hundreds if you were able to find the originals. Included in the booklet are extensive track notes from Sean highlighting what he knows about these records and, where they are super-rare and obscure, what he doesn't know. As always with Z Records compilations, a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible. Features: Natural Hi, George & Glen Miller, J.P. Robinson, Ed Watson And The Brass Circle, Medina & Mensah, King David, The Mark IV, Nostromo, Don & Oli, World Quake Band, and The Stars.
Double LP version. "Cultures of Soul Records is proud to present Greg Belson's Divine Disco - American Gospel Disco 1974 to 1984, curated and researched by Gospel Soul music authoritarian Greg Belson. Greg Belson's Divine Disco is a snapshot in time encapsulating the raw power of a spiritual performance, set to the pulsating 4/4 rhythms that were in vogue with the dance floors of the day. Labels like Savoy played a key part in identifying artists that fit nicely into this brand new style with performers like Shirley Finney and The Gospelaires, both of whom were established within the scene, but carried the 'Disco' torch brightly with their tunes featured here. Divine Disco also paints a picture of the lesser known acts that privately released their message to the hopeful masses, such as the Gospel Ambassadors and the Inspirational Souls, whose recording budgets would have been significantly less than any 'major' label. As proven here, they had no less of an impact to the listener. Other tracks on this compilation such as Betty Griffin's 'Free Spirit' have become big club spins for the likes of the NYC Downlow and Horse Meat Disco crews. Also included are recently discovered tunes like the Masters of Music's 'Trouble Don't Last Always' as well as a future classic by The Testimonial Singers, which features several young members of the Winans Family. We've got you covered too for those more modern soul, boogiefied moments with rarities from Delores Fuller, Herman Harris and two offerings from the killer LP by Enlightment. This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and Rahaan."
2016 repress. This French psychedelic masterpiece by Philippe Besombes and Jean-Louis Rizet, originally released by Pôle Records in 1975, is a stunning piece of work created with synths of various kinds (VCS 3 AKS, Synthorchestra Farfisa, Mellotron 400, etc.), occasionally backed up by drums and other sounds. Lauded by artists like Julian Cope and Etienne Jaumet (Zombie Zombie) and diggers around the world, Pôle takes the listener on a trip like the gods of psychedelic music intended, from IRCAM's laboratories to German krautrock; from Faust to Cluster & Eno. The original double LP release is reissued here as a single LP (including download code for original album track "Synthi Soit-Il," absent from this LP). Pôle is ideal for a thorough shamanic journey without any new age namby-pamby. After previewing the opening track ("Haute Pression"), listeners might choose to enjoy the album while tripping, rediscovering that dark and fuzzy side of unknown '70s French avant-garde music.
But Wait There's More 12"
The Messerschmitt Pilot's Severed Hand LP
Never Gonna Leave You/Dip Drop 12"
Sparked: Modular Remix Project CD
Sparked: Modular Remix Project 2LP
Sketches From An Island 2 2LP
Forgotten Figures 003 12"
Summer Into Winter/North Marine Drive LP
Happy Nation (Ultimate Edition) 2LP
The Bridge (Ultimate Edition) 2LP
Biologia Animale e Vegetale 2CD BOX
Biologia Animale e Vegetale 3LP BOX
American Gospel Disco - 1974 to 1984 CD
American Gospel Disco - 1974 to 1984 2LP
The Girl In The Glass Case LP
Snooze 4 Love (Dixon & Luke Abbott Remixes) 12"
The First Recordings Vol. 1 LP
The Girl In The Glass Case CD
The Blow Volume 1 Cassette
The Messerschmitt Pilot's Severed Hand CD
Keystone Club Palo Alto, CA 1979 LP
Teenage Werewolf... Live LP
J.J. Jackson's Dilemma CD
Live - Paul's Mall, Boston, '75 CD
Under the Influence Volume Five: A Collection of Rare Soul and Disco 2LP
Live From Gilley's 4 August 1985 CD
Four Organs/Phase Patterns LP
Berkeley University Museum - November 7, 1970 (Red Vinyl) LP
The Columbia Years 1968-1969 CD
The Columbia Years 1968-1969 LP
Chewing Hides The Sound CD
Live At The Witch Trials LP