This recording is the première release of Julius Eastman's Femenine, for chamber ensemble. It is Femenine's only known recording, documenting a 1974 performance by the S.E.M. Ensemble (with the composer on piano) that has lain unheard for decades. The music of Julius Eastman (1940-1990) is enjoying an ongoing period of rediscovery. Known best in the past for his work with figures like Peter Maxwell Davies, Arthur Russell, and Meredith Monk, today his own formidable compositions continue to draw increasing admiration. Joyous, insistent, and immersive, Femenine bathes the listener in surges of tonal color from intertwining winds, piano, violin, pitched percussion, synthesizer and -- uniquely -- the composer's own invention of mechanized sleigh bells, which provide the 72-minute piece with its characteristic pulse. Illuminating sleeve notes are provided by composer and author Mary Jane Leach, who is co-editor of Gay Guerrilla, a 2015 collection of essays on Eastman's life and music. Recorded by Steve Cellum -- co-producer of Arthur Russell's World of Echo -- and mastered by Denis Blackham. CD in slim card package with insert. "Eastman's stated aim with Femenine was to please listeners, saying of the piece that 'the end sounds like the angels opening up heaven . . . should we say euphoria?' " --Mary Jane Leach
Music of Morocco: Recorded by Paul Bowles, 1959
Repressed! Silkscreened cigar box with foil stamping details throughout, 120-page leatherette book, and four CDs containing 4 hours and 30 minutes of audio. Includes introduction by Lee Ranaldo, field notes by Paul Bowles, and annotations by Philip Schuyler. From July to December 1959, Paul Bowles crisscrossed Morocco making recordings of traditional music under the auspices of the Library of Congress. Although the trip occupied less than six months in a long and busy career, it was the culmination of Bowles's longstanding interest in North African music. The resulting collection remained a musical touchstone for the rest of his life and an important part of his mythology. Paul Bowles (1910-1999) was an American expatriate composer and author. He became associated with Tangier, Morocco, where he settled in 1947 and lived for 52 years to the end of his life. While living in Morocco, Bowles became a magnet for those envisioning the artist's life away from the mainstream. He was idolized by writers of the Beat Generation, many of whom (William Burroughs, Gregory Corso, Allen Ginsberg, and Jack Kerouac) visited Bowles and his wife Jane in Tangier -- a city Burroughs would later reimagine as the "Interzone" in his 1959 novel Naked Lunch. Over four months in 1959, Bowles traveled an estimated 25,000 miles around Morocco, capturing vocal and instrumental (including dance) music of various tribes and other indigenous populations at 23 locations throughout the country. In 1972, the Library of Congress issued a double LP titled Music of Morocco, containing selections from the collection. This four-CD set contains the recordings included on that double LP in addition to a wealth of never-before-heard music from this rich collection. Includes performances by Maallem Ahmed, Rais Ahmed ben Bakrim, Moqaddem Mohammed ben Salem, Chikh Ayyad ou Haddou, Rais Mahamad ben Mohammed, Chikh Hamed bel Hadj Hamadi ben Allal, Maallem Ahmed Gacha, Chikha Fatoma bent Kaddour, Cheikha Haddouj bent Fatma Rohou, Mohammed bel Hassan El Ferqa dial Guedra (Bechara), Maalem Abdeslam Sarsi el Mahet, Sadiq ben Mohammed Laghzaoui Morsan Embarek ben Mohammed, Maalem Mohammed Rhiata, Si Mohammed Bel Hassan Soudani, Maallem Taieb ben Mbarek, Hazan Isaac Ouanounou, members of the Hevrat Gezekel, Hazan Semtob Knafo, Amram Castiel, Hevrat David Hamelekh, Maalem el Hocein, Abdelkrim Rais, and members of the Family of the Chorfa of Ouezzane, as well as recordings of unknown performers.
Sequential Sleep [ver1.2]
Echospace present the secondary edition of Variant's Sequential Sleep, a beautiful complement to the original, but at the same time, entirely unique. Taking the foundation and elements of [Volume One] (SEQ 001CD, 2016) and stripping it back into the ether; dubbed out and treated from reel-to-reel tape creating an almost vaporous atmosphere all of its own - deep, organic and mystical. Utilizing a combination of purely analog mixing, a variety of field recording methods and dubbing it in real time - hands on the controls, no edits, no computer, just the ghostly harmonics and shivery bi-products you would come to expect of obsolete vintage electronics. The analog warmth has never sounded so sweet, mixed at antique modulation in Ann Arbor. Double CD housed in a beautiful retro matte finished eco wallet with UV coat.
LP version. Faitiche presents the release of Schaum by Masayoshi Fujita & Jan Jelinek. Since their debut Bird, Lake, Objects (FAITICHE 003CD, 2010), they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth or foam) is the duo's second album. Jelinek writing to Fujita about the album: "Dear Masayoshi Fujita, many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures - among others, I'm using material produced in connection with my radio pieces 'Kennen Sie Otahiti?' (2012) and 'Dialoge zur Anthropologie' (2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example. Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller's novel Tropics, an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its 'master race' posturing, characteristic of that time and place, are, of course, intolerable. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character's adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth. With best regards, Jan Jelinek" Comes in hard-cover book-style packaging.
Lichter is the first piece in a new series of electroacoustic dub compositions by Mouse on Mars. It is a massive, lurching, up-tempo percussive epic. Like much of Mouse on Mars's output, Lichter deftly traverses a varied sonic landscape, encompassing elements of jazz, dub, krautrock juke and psychedelia. Lichter incorporates trigger robots built by Sonic Robots's Moritz Simon Geist and features Andi Toma and Jan St. Werner's long-time collaborator Dodo NKishi on percussion. Edition of 300. Neon-pink vinyl, single-sided, silkscreened B-side. Includes insert and photograph. Includes download code.
Kompakt's Total compilation series hardly needs an introduction: they rummage through the Kompakt releases, selecting favorites from the past year that reflect Kompakt's best and unsaid tracks, compiled and packaged as a cohesive whole. Total 16 is a dynamic assortment and comprehensive profile of Kompakt's current label portfolio, including both newcomers and veteran producers in peak form. Keeping up a good old Total tradition, there is also new material from core artists - such as Michael Mayer's aptly named "Action", an absolutely rinsing acid cracker, or Matias Aguayo's stellar "Komm", sitting comfortably among his best and most stirring work to date. Meanwhile, Jürgen Paape drops silky, atmospheric synth pads on "Eden" and The Modernist teams up with Hot Chip's Joe Goddard for the pop-infused "The Price Of Love". Another highlight is the debut release from exciting newcomer Lake Turner: "Beacon Fields" is a misty- eyed, melancholic piece focusing on exquisite electronic textures and sweeping melodies. Also features: The Field, Kaytlin Aurelia Smith, Weval, The Orb, Teebs, Blond:ish, Patrice Bäumel, Coma, Robag, Komon & Will Saul, Ben Westbeech, The Modernist, Sonns, Wassermann, The Silent Ones, Jonas Bering, Dave DK, Ulrich Schnauss, Frankey & Sandrino, John Tejada, Hunter/Game, Redshape, Clarian, Rex The Dog, Maceo Plex, C.A.R., Reinhard Voigt, Terranova, and DJ Hell.
"Re-release of the originally 1974 released Klaus Schulze classic album Timewind, includes generous bonus and a 16-page booklet. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, 'Movements of a Visionary', but it remains a transitional work somewhere between the krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner, Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself."
"For the first time ever on vinyl, the rousing and eclectic soundtrack to the film from one of Italy's most beloved cult directors. Conquest brings together the electronic virtuosity of Claudio Simonetti and the visionary horror of Lucio Fulci. The result is an epic musical score rich with analog synthesizers, arpeggios, tense rhythms and maestro Simonetti's signature atmospheres. This limited edition contains a wealth of unreleased material never before heard. A must have for any die hard collector. Limited smoke transparent vinyl + poster 499 copies."
NYC's Adam X regains his 'floor traction as Traversable Wormhole with Sublight Velocities. His first Traversable Wormhole production since 2012, it's far more amped than his sewer-dwelling ADMX-71 album, Coherent Abstractions (LIES 067CD/LP, 2015). "Sublight Velocities" aims for the jugular up top, squaring off a bruising tattoo of militant kicks packing elephantine recoil while plasmic black drones stoically deplete the spirit. The coldly hypnotic "Semiclassical Gravity" rolls off the bone accentuating the groove's elliptical, rolling chassis with acidic sub-bass rubs and stepping hi-hat patterns seemingly dispersing the other side's lactic build up.
For the past seven years Kornél Kovács has been busy rocking dancefloors and boom-boxes worldwide as one third of Stockholm's Studio Barnhus alongside Axel Boman and Petter Nordkvist. The label and DJ trio is spearheading a new era of fearless Swedish off-center dance music, straddling the line between cute and menacing. Anticipation for Kovács' debut album has been rocketing following stand out releases like 2014's wistful Szikra (BARN 022EP), last year's mad party anthem "Pantalón" on Glasgow's Numbers imprint and the late night groove of "Space Jam" on Smallville Records (SMALL 044EP, 2015). On The Bells, Kovács pops open his trunk full of sounds nicked from the lost and found bins of nightclubs all over the world. From the distorted organ chords of "BB" to the stripped down trance-hall beats of "Josey's Tune" and "Szív Utca" and the title track's cinematic romanticism, it's all of the bells and all of the whistles - further positioning Kornél Kovács as one of the most characteristic producers of modern house music. The record was completed in an intense two-week session with Kovács' great friend and great studio engineer Matt Karmil in the cold winter of 2016. Another close friend, artist Malin Gabriella Nordin, has created the album artwork together with her brother Jonas.
DVD is NTSC and region-free. Helmut Lachenmann presents a DVD release titled String Quartets. Helmut Lachenmann on the wonderful performers of the piece, Stadler Quartett: "Meeting and working with the musicians of the Stadler Quartett: one of my most precious memories and experiences - accuracy and euphony, even and especially in the 'extraterritorial' realm of noise and reverberations, and finally, along with their willingness to probe new performance techniques: inspired music-making and exquisite artistry. In short, everything needed to make an audience alert and attentive - and a composer happy. One cannot express gratitude, words are bound to fail." Sound format: PCM 2.0 Stereo. Picture format: 16:9. Total playing time: 76 minutes.
Angry Love Productions presents the official reissue of the first studio album Force The Hand Of Chance (1982) by Psychic TV. Back on vinyl for the first time in over 25 years. Cut from the original masters in the WEA UK vaults, this limited-edition pressing is sure to sell out fast. Force The Hand Of Chance remains one of Psychic TV's most seminal albums boasting classic tracks such as "Just Drifting" and "Ov Power" as well as a vocal feature by Marc Almond of Soft Cell on the haunting "Guiltless". Edition of 1,000.
LP version. Includes 7". "In the early years of Fela Kuti's career, well before he would define the genre of Afro-beat, and leave an indelible mark on the musical landscape, he was a struggling trumpet player, seeking to redefine the sound of his current group, the art-jazz ensemble Fela Ransome-Kuti Quintet. As he moved his group towards the then-popular genre of highlife in 1963, he lost his bassist in the move towards commercial success, but gained the company of Ojo Okeji, who had a sterling reputation both as a bassist and percussionist in groups like Lagos Cool Cats, Rex Williams' Nigerian Artistes, and Western Toppers Highlife Band, a favorite of Kuti's. Okeji impressed Kuti with his deft jazziness on the bass, so he was in on the spot, and the Fela Ransome-Kuti Quintet became Koola Lobitos. It was Okeji that introduced Kuti to the famed percussionist Tony Allen, (Who would subsequently join Kuti into his greatest years as an artist) as well as conguero Abayomi 'Easy' Adio. During his time in Koola Lobitos, Okeji not only contributed deeply melodic, and adeptly rhythmic baselines, but brought his own influence from emerging US soul artists like James Brown & The Famous Flames and Wilson Pickett, heavily pushing Koola Lobitos towards a more soulful direction. This push was often resisted by Kuti, who frequently clashed with Okeji. 1968 proved to be a turning point for the group, as the Nigerian Civil War broke out, and many starving musicians turned to the military for work. Okeji and Adio would leave for the army, while Kuti and Allen kept Koola Lobitos going, where it evolved through different names and iterations and grew into the worldwide Afro-beat force that made Kuti an icon during the '70s and '80s. But as Kuti and Allen rose to global recognition, Okeji and Adio would form a new band within the ranks of the 6th Infantry Brigade of the Nigerian Army. Their emblazoned blue jackets earned them the nickname 'The Blues', but Okeji preferred the name 'Shango' after the Yoruba thunder god. Shango took the fundamentals of Kuti's famous Afro-beat and brought new layers of guitar and horn arrangements, while often invoking supernatural aesthetics, and maintaining a love for the US soul artists that influenced Okeji so much. Because Shango was an army band however, their records were not readily available to anyone outside of the military so their music, including their eponymous 1974 LP, remained relatively unknown even amongst the people of Nigeria. Decades later Comb & Razor is thrilled to present this long-lost Nigerian gem for the first time to a world-wide audience."
Double LP version. Gatefold sleeve. "How many can get a personal sound out of a fucking piano?!" - Lee Konitz. Thomas Brinkmann takes his seductive reductionism to the next level with A 1000 Keys, a harsh meditation on the expressive qualities of digital sound production. In translating the timbre of a grand piano into binary codes, thus rebuilding its corpus with "0 and 1s", Brinkmann subverts the sensual qualities of this proto-romantic instrument in a sardonic way. Replacing the musician with a mathematically precise series of frenetic repetition and intriguingly dissonant difference, the result sounds at times like a violent ride through the brains of Schönberg or Webern, drained in amphetamines, at others like Feldman's ephemeral sketches or Russolo's futurist outburst. Brinkmann's conceptual framework is resonating in the track titles. Using shortcuts of international airports, he refers to non-places that establish their own space-and-time continuum, while lacking individual identity and history. These functional scenarios are sterile passages for anonymous, objectified masses, at the same time there's hardly a better place to grasp the very subjective character of time. A 1000 Keys is a fatal homage to minimalism and a consequent denial of virtuosity and the idea of creative genius. Paraphrasing the romantic idea of human perfection, Brinkmann found a way to create sonic algorithms of tenderness and brutality, establishing dramatic expressiveness in his constructivist analytics. The result is of radical beauty. Dedicated to Conlon Nancarrow.
Restocked; featured on NPR Fresh Air! E.T. Mensah was the first King of Highlife, and although he died in 1996, he's still -- and forever will be -- the King of Highlife, the mainly Ghanaian dance music that he made popular around Africa and beyond in the 1950s and '60s. E.T. (as everyone called him) played a variety of instruments but especially saxophones and the trumpet, composed hundreds of songs and dance tunes, and led the best band on the West African Gold Coast, The Tempos. Modeled on the great American swing bands of the 1930s and '40s, The Tempos blended re-Africanized jazz, Latin music, and calypso with various local dance styles. With their records and tours over the two decades following their recording debut for Decca in 1952, they spread the highlife dance-band sound throughout West Africa (particularly Nigeria, where the young saxophonist Fela Kuti was deeply influenced by E.T. Mensah) and on to the Congo, East Africa, and Southern Africa, everywhere inspiring new dance-band styles. RetroAfric's 4-CD compilation includes all of The Tempos' hits as well as recordings that haven't been available since the days of shellac 78s, all 69 tracks remastered from the best available sources. It is the most comprehensive collection of E.T. Mensah recordings ever released. The 64-page booklet is filled with historical photographs and a biography by John Collins, the Ghana-based record producer and highlife scholar, and the package features specially-commissioned art by Kofi Ankroba.
Paura Vol. 2 (A Collection Of Scary & Thrilling Soundtracks)
"For almost 60 years Ennio Morricone has been composing some of the most beautiful film scores of all time. This second collection shows the darker experimental side of Ennio with pieces that have accompanied such films as Revolver, 900, Barbablu', Una Pura formalita', Un tranquillo posto in campagna and many more. Frightening orchestrations, dark jazz tapestries and unsettling piano movements are brought to life. With this release Rustblade attempts to shine a light on the compositional magic of an undisputed musical genius with a collection of songs appearing for the first time ever on vinyl. A must have! Limited transparent vinyl 499 copies."
"Regularly hailed as one the most important composers of the late 20th century, John Zorn is comfortable at the helm of an ensemble, as improviser on an array of instruments, and as a bold theorist of collaboration. Throughout the 1970s and 1980s, the New York artist and operator of the esteemed Tzadik label became known for assembling hardcore-inflected jazz ensembles and for devising 'game systems,' or intricate musical conditions intended to force players into new territory. Released in 1990 on Nonesuch, Naked City bears a stark cover photograph by Weegee -- noted for his unsparing images of New York crime scenes -- and features one of the more staggering 'rock' lineups ever assembled: Zorn on alto saxophone, guitarist Bill Frisell, bassist Fred Frith, drummer Joey Baron, keyboardist Wayne Horvitz, and vocalist Yamatsuka Eye. Naked City is a maelstrom of styles, veering recklessly between country, noise, New Orleans R&B, polka, and grindcore, with overtures from detective shows and film noir. In other words, it's a daring maelstrom of American musical vernacular. It also explodes the rock format's supposed limitation and retains a wildly intersectional listenership: devotees of punk, free jazz, and harsh noise celebrate Naked City. In short, as one writer put it, Naked City remains a 'pinnacle of avant coolness.'"
Everything Is Wrong (Solomun Remix)
Solomun reveals his latest remix for popular NYC rock band Interpol. Taken from Interpol's latest album El Pintor, "Everything Is Wrong" has been given a dancefloor-ready makeover from Solomun. His remix preserves the gritty guitar line, adding a subtle but deep bassline and echoed percussion. The vocals are slightly tweaked, their electronic twang reminiscent of '80s bands. As Solomon's strings slowly grow throughout the track. Solomun's remix of "Everything Is Wrong" preserves the mood and melody of the original, yet is a clearly recognizable production of his own. Includes MP3-codes.
Double LP version. Includes download code. A-TON is a new edition and platform of Berghain's in-house imprint Ostgut Ton, focusing on ambient, archive and alternative music, differing from the club-focused records on the main label. Chronicles I marks the start of a series from Luke Slater's The 7th Plain moniker, with remastered, previously released and unheard archive material. First published on General Production Recordings between 1993 and 1996, Slater's The 7th Plain pushed the further burgeoning genre of ambient music towards its boundaries by not limiting itself to mostly beat-less synth pads, but by including propulsive beat progressions, nuanced rhythms and subtle melodies. Luke Slater pioneered the UK's electronic landscape as Translucent, 4 Slots For Bill, Planetary Assault Systems, The 7th Plain, Clementine, and later as L.B. Dub Corp, by partly focusing on, partly bypassing the traditional, puristic values of techno. The 7th Plain's extra-mundane music dodged classification, as heard on the albums The 4 Cornered Room (1994) and My Yellow Wise Rug (1994) - emotional, eerie and escapist music, at the time of release forward thinking records that in retrospect managed to overcome time. Originally recorded at Slater's Spacestation Ø, now all newly mastered for A-TON, Chronicles I depicts the futurist aesthetic and musical agenda of the '90s in a contemporary context, without nostalgia but confidence of its timelessness. With seven original musical pieces and a previously unreleased Ken Ishii remix, The 7th Plain sounds as spirited and relevant as ever. While "Boundaries" (taken from My Yellow Wise Rug), "Grace" and "Surface Bound" (from The 4 Cornered Room) should be familiar to Slater aficionados, "The Super 8", "T Funk States", "Slip 7 Sideways" and "Chords Are Dirty" are previously unheard like the aforementioned remix of Ishii's "Extra". Chronicles I sees The 7th Plain expand the warmth and bleakness of analog synthesizer music to the digital age.
Four disparate, industrial-tinged tracks that demonstrate a rough-hewn synthesis of noise and techno. From the hypnotic "Caberet Voltaire gone Reggaeton" patter of "Chats With Lucy" to the crawling computer acid of "Christian Rock Concert", Nick Klein teases out melodies from beneath layers of muddied beats on The Lonesome Dealer, a record that is as pacifying as it is jarring. "Do You Want To Crash?" is perhaps the clearest realization of this idea; its crescendoing din of noise giving way to a laser-cut synth line, while "Pain Management Resource" is built around a clatter of hi-hats and wobbly polyrhythms.
Black Truffle present Speak To Me, the sixth full-length release from 3/4HadBeenEliminated, the Italian trio of Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. Based on source material recorded in Bologna and Berlin over the course of several years, the album is made up of two side-long pieces meticulously constructed in post-production by Tricoli in his singularly dense and unpredictable style. Although their live performances have always been entirely improvised, in their recorded work the group focuses on using improvised recordings as source material for compositions built up through layering, editing and analog manipulation, extending the practices of Teo Macero, Faust and This Heat. Melancholic instrumental ruminations sit alongside cracked electronics, concrete sounds and Tricoli's whispered vocals, drawn together into dense assemblages animated by gradual transformations and sudden jump cuts. Beginning from the abstractions of their self-titled debut release in 2004, the group embarked on a trajectory that saw them move toward near-song structures, Tricoli's voice becoming a dominant element amid an increasingly dense and layered production style. On Speak To Me, however, the listener feels confronted by the ghost of music, sonic memories echoing across a psychedelic expanse. Evacuated of any clear structure, the music becomes a reverb-saturated morass, from which crystalline details momentarily emerge: shimmering echoed guitar, bowed double bass, tactile hand percussion, skittering electronics. Suffused with a darkly pensive atmosphere, Speak To Me is an elegant summation of the distinctive blend of electroacoustic techniques, instrumental improvisation and contemporary psychedelia pioneered by 3/4HadBeenEliminated over the last decade. LP design by Stephen O'Malley with striking artwork by Stefano Pilia. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin.
Includes MP3/FLAC download code. Wreck His Days is dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project, Tomorrow The Rain Will Fall Upwards. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell or Penguin Cafe Orchestra. It roams far and wide: from near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of "Ghost From The Coast" and the hulking, bass-heavy soundsystem weapon "Reverberasia". The swelling, uplifting astral psychedelia of "...And I Tried So Hard", while "I Beat As I Sleep As I Dream" reprises the bleak existential synth drift of T.T.R.W.F.U.'s extraordinary 2014 10", How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing.
LP version. Bureau B present a reissue of Michael Bundt's Electri City, originally released in 1980. Having played his way through the 1970s in various rock combos (Medusa, Nine Days' Wonder), Michael Bundt embarked on a solo career in the latter part of the decade, releasing three albums which saw him explore the vast potential of electronic music. Delightfully varied and typical of his willingness to experiment, his music orbits around krautrock, Berlin School electronica, space-futurism and synth pop. Electri City, his last album, was created in Bundt's own studio using a PPG synthesizer and a Teac four-track tape recorder. He worked on the mixes with a Revox tape machine, cutting and splicing by hand. Whereas he had enlisted guest musicians on the predecessor Neon (1979), this time around he did everything himself, except for two tracks which featured keyboarder Steve Robison (Reiner Geyer) who had played with Bundt in the krautrock band Nine Days' Wonder. The resulting LP is replete with experimental electronic music, psychedelic in places. Music which leaves the Krautrock of Neon far behind. Electri City is like a science fiction story: inquisitive, playful, energetic, willing to take the fantastic on board. Step sequencer miniatures flow easily through the music as it conjures up electrifying escapades of synth FX and distorted field recording fragments, laced with melodies heavy on portamento - all coming together in a complex, expressive musical structure that would not be out of place in a Captain Future film. Michael Bundt dedicated Electri City to the fictitious character Kilgore Trout who was created by the author Kurt Vonnegut. Trout appears in a number of Vonnegut's novels, usually described as an unsuccessful science fiction writer whose stories at best make it into pulp fiction comic books or the pages of men's magazines. Synthesizer music at that time was generally considered suspect, purportedly trivial, in contrast to the pure playing techniques so freely exhibited in progressive rock. Perhaps Bundt felt that this mirrored the fate of Trout's eminently readable works, Vonnegut's intradiegetic stories. But Michael Bundt was not going on the defensive with Electri City having already offered proof enough of his virtuosity. Michael Bundt cast aside his instruments and stepped away from krautrock, purposefully striving for a purely synthetic analog sound.
2013 release. A record of contended mythical existence amongst fans of Euro cinema and rare jazz for decades, this Polish only EP contains all four themes to Roman Polanski's first-ever feature film Knife In The Water (1962). Composed by unanimously beloved Polish pianist Krzysztof Komeda. Features Roman Dylag and a radical inclusion of the sought after Swedish trumpeter Bernt Rosengren. This picture sleeve EP features artwork from Polish legend Roslav Szaybo. Komeda has worked alongside Don Cherry, Michel Urbaniak and Gato Barbieri. While unwanted by the clutches of communism this important artist deserves due focus.
Frankfurt's Gerd Janson is one of electronic music's most genuine and humble characters. He is a co-founder of the label Running Back along with Thorsten Scheu (aka Glance). For Fabric 89, he selected records that he's played a lot in a party context and mingled them with exclusives and "up-and-coming" tracks. Through this mix he explores a space between cosmic disco and acid house - never too hard, nor too soft - it makes for the perfect soundtrack to a sunrise or a sunset alike. Packaged in bespoke slipcase containing die-embossed tin. Features: Todd Terje, Luke Abbott, John Talabot, Traumprinz, Shan, Boddika & Joy Orbison, Mateo Murphy, Geeeman, Catz 'N Dogz, Q-Burns Abstract Message, Glenn Underground, Inner Sense, Mike Ash, Nick Höppner, The Black Madonna, HMC, Joe Claussell, Roger van Lunteren, Scott Grooves, Caribou and Prins Thomas.
The Bariba Sound 1970-1976 2LP
Distress Signals I & II 2CD
Music of Morocco: Recorded by Paul Bowles, 1959 4CD BOX/BOOK
Evolutsiya: 40 Best And Rarest 1991-2016 2CD
Sequential Sleep [ver1.2] 2CD
What Is Living And What Is Dead CD
Schubert: Four Impromptus CD
Left Behind: Songs of the 1916 Widows CD
Heathen Earth: The Live Sound Of Throbbing Gristle LP
Far Islands And Near Places CD
Kingston Allstars Meet Downtown at King Tubbys CD
Life And Life Only: Radio & TV 1961-1965 CD
60° 43' Nord (Deluxe Edition) 2CD
The Digital Afterlife 12"
The Wonderful Shapes Of Back Door Keys CD
Four Meditations/Sound Geometries LP
Shango Dance Band LP + 7"
The Boone-Tolliver Recordings CD
The Boone-Tolliver Recordings LP
Uptown Saturday Night 2LP
The Blues Soul Of Johnny (Guitar) Watson LP