The entire Transparent recordings released for the first time, completely remastered from the unedited tapes. Zos Kia was formed by John Gosling (Mekon), John Balance (Coil) and Min - with guest Peter 'Sleazy' Christopherson (Throbbing Gristle). Their one and only album, Transparent, was released on August 23rd, 1983 in a cassette only edition on the now defunct Austria label Nekrophile. They were the first released recordings of both Coil and Zos Kia. It was reissued years later by Coil (Threshold House/Eskaton). Includes two previously unreleased bonus tracks by Ake (pre-Zos Kia). The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed; Scatology (1984). An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle. CD version comes in a six-panel digipak with a booklet containing unseen images.
Dance Tracksz is the body-checking return of Prostitutes, aka James A. Donadio, to Diagonal; a no pretenses rave set built minimal and raw for hard worked 'floors. The label's Cleveland, Ohio ambassador has cut out any sentimentality and gone straight for the rave jugular with no concession to ascetic consistency, knocking up one of his fiercest examples of brutalist funk in the process. It's Prostitutes' third and most substantial release for Diagonal, a swaggering and unzipped affirmation of the styles on 2013's Shatter And Lose and Ecstasy, Crashing Beats And Fantasy from 2015 (DIAG 015EP), and clearly catches the label's close ally in the mood for getting wasted. Prostitutes' Dance Tracksz are schooled with the sort of street knowledge and bluntness that perhaps comes from life as a techno-punk in a blue collar industrial city such as Cleveland, OH: the bullish, PCP-style hardcore bookends of "Ah Yeah" and "War Goes On" say their piece in no uncertain terms, whilst "Bottle Smashing" spits pure industrial street funk and "Prey" deals in riot-inciting jungle-techno. Even the album's sole moment of sentimentality, "I Luv U Bruv" - a gesture of affection for his label boss, Powell - is delivered with an acrid lash of electro-techno, but at least you know he means it. In a sound world spoilt for choice, Prostitutes' refusal of shiny tricks is admirable and almost subversive in the face of hands-in-the-air breakdowns, but there's something about the way he wrenches out every last drop of rusty, jacking funk from his machines that leaves no doubt about Dance Tracksz effect at close quarters. Artwork by Guy Featherstone. Mastered by Matt Colton. Edition of 500.
No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences while retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots. The result is an evolutionary, truly alchemical music -- great shifting tides of dub, minimalist composition, and choral song ("Five Demiurgic Options"); ritual spells to ward off the darkness ("Before The Dam Broke," "The Prophet Sequence"); radiophonia and zoned-out guitar improv ("Seven Virgins"); even the febrile, freeform psychedelia of '80s noise rock ("Sferic Ghost Transmits," "Fear The Crown"). In the time since he collaborated with Shackleton on 2012's Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these transmissions he's hoarse preacher, sage scholar, and ravaged bluesman; blind man marching off to war; and exhausted time-traveler warning of impending socio-ecological catastrophe. Dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering -- its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."
2017 repress. A timely repress of the John Cameron's 1973 score to this British cult biker classic Psychomania, aka The Death Wheelers. Originally first issued in 2003 by Trunk, this jazz-rock soundtrack masterpiece has become a valuable LP, people paying up to $100 on the second-hand market. Here it rides again, with music direct from John Cameron's master tapes, with new reversed black, red, and white artwork to differentiate it from the first press in 2003. Psychomania is a true cult classic with zombie bikers, George Sanders (his last film before he killed himself out of boredom), Beryl Reid, Joe Columbo furniture, a frog, brutalist architecture, stone circles, Triumph motorbikes, Nicky Henson, teen gangs, The Living Dead, The M3 motorway, all with music by a British jazz outfit headed up by one of the great progressive jazz/library composers of them all, John Cameron.
Brasserie Heroique Edits Part 3
"Four deejay wmds beaming in from Osaka: weird, unsettling disco-funk, guaranteed to rock the house. Kanwaza crosses ethnic roots and disco; Cross Calf Dance jacks up the quirkiness; Stormy Weather and Water lock down the after-hours crew."
The third release in the 12 x 12 series is this total fucking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves: Terre Thaemlitz (DJ Sprinkles) and Mat Steel and Mark Fell (SND). This is the first appearance of their collective handle You Speak What I Feel since their contribution to Comatonse's 2003 tenth-anniversary compilation, and it finds the trio at their deadliest, producing a deep-as-anything, peak-time killer riding a strolling bassline, pointillist claps, and effervescent chords for 12 minutes of swingers' bliss. Mastered by Terre Thaemlitz and cut by Matt Colton at Alchemy.
Not Waving consolidates the myriad stripes of his acclaimed Animals album (DIAG 025CD/LP, 2016) in four extended peak-time hammers on Populist. "Too Many Freaks" is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of "Vibe Killer" takes a dog-grip. "Control Myself" holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the crooked clamp-jaw groove of "Ur Lucky Ur Still Alive" pivots around a sample a lone raver at Atonal, Berlin.
LP version. Includes download code. Got Kinda Lost Records present an expanded, first-time reissue of Cromwell's At The Gallop, originally released in 1975. Self-released in 1975 by the Drumcondra, Dublin-based Cromwell, At The Gallop is a blistering, heavy, loud n' lascivious ten-track offering (thirteen in this expanded edition) of proto-metal infused street rock n' roll from a time when Ireland was still under the sway of conservative showbands, quasi-religious, sentimental pop pap and traditional Irish music. Despite their cultural struggles, Cromwell crafted a creative and compact catalog - five fuzzed n' ferocious 45s and this foot-long - led by co-vocalist/bassist Michael Kiely's come-hither coo and fey Jagger pose n' preen, the in-the-pocket drumming of Derek Dawson and minor-guitar hero moves of Patrick Brady, exercising taste, talent and towering mountains of fuzz n' fury as comfortably as greasy '70s raunch and rural modes. At The Gallop is a rare, little-heard classic in the pub/fried rock n' roll/proto-punk terrain. RIYL: Teenage Head, Flamingo-era Flamin' Groovies, Mott The Hoople, '70s Rolling Stones, pre-punk American street rock, and the Bonehead Crunchers series. Includes three bonus tracks from the group's rare singles; Includes an insert featuring rare photos and in-depth liner notes by Jeremy Cargill (Got Kinda Lost Records, Ugly Things Magazine).
Mike Cooper's Blue Guitar is a collection that first appeared on Cooper's Hipshot CDr label in 2010 in a limited edition. It is presented here on Idea Records, for the first time on vinyl. Upon its initial release Cooper wrote: "For the past couple of years I have been collating a body of text culled (mostly) from Thomas Pynchon's novels Gravity's Rainbow and V and making cut-up collage pieces in the spirit of William Burroughs, Kurt Schwitters, Tom Phillips and others. Those two particular novels interest me because they are set in the period that I was born, however no reference to that period is intended in my pieces. Hopefully a more contemporary comment was found lurking within the words, lines, pages and paragraphs. Recently my interest in playing the guitar in a more or less 'traditional' manner, but still incorporating various 'extended techniques' (as opposed to using it purely as a sound source) has been re-kindled along with a renewed interest in blues, Greek rembetika, flamenco, Portuguese fado and other traditional and improvised music around the Mediterranean which in turn brought out the singer in me again... I have lived in the Mediterranean region for 30 years and listened to its music and I wanted to make something that would hopefully have some of its spirit without making reference to any of it musically." "Things as they are / are changed upon the blue guitar" --Wallace Stevens, Man With The Blue Guitar (1937) "Sometimes when you cut into the present the future leaks out." --William Burroughs. Mastered by Rashad Becker. Cover design by Tom Recchion. Comes on 180 gram vinyl; Includes a lyrics insert; Includes a postcard insert; Linen Wrapped/Foil Stamped; Comes in an Old Style Tip-On jacket.
The new It's Psychedelic Baby!, dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It's Psychedelic Baby! After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the '60s and '70s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley. 44 pages.
LP version. Includes download code. Mental Experience present the first ever reissue of Requiem's For A World After, originally released in 1981. Dark, progressive, synth ambient meets Berlin-School sounds on this obscure kraut album, which "tells the story of a world annihilation through nuclear war." For A World After is full of delayed psychedelic electric guitar, effects, cold drum machines, waves of analog keyboards (Korg MS20, Casiotone 201, Crumar DS-2, Jupiter-4), and cosmic atmosphere. George Speckert is a conceptual electronic composer based in Hannover, but of North American origin. Working as a music teacher in Germany in the '70s, he started to write and produce music in his spare time, inspired by the European rock and electronic scenes of the time (Tangerine Dream, Klaus Schulze, Jean Michel Jarre, Emerson Lake & Palmer, etc.) He met another American expat, David Cassidy, who ran a small record label/studio - that's when Requiem started to take form. A chance meeting with a terrific guitar player named Massimo Grandi, led to Massimo adding some amazing electric guitar to the album. After six months, For A World After was released in a privately-pressed edition of 1000 on the small, Daviton label. RIYL: Klaus Schulze, Tangerine Dream, Conrad Schnitzler, Moebius, Popol Vuh, Metronic Underground, Rüdiger Lorenz, Michael Bundt, Wolfgang Bock, Michael Hoenig, Rolf Trostel, Pina. Master tape sound; Insert with liner notes and photos.
Mental Experience present an expanded reissue of Ildefonso Aguilar's Erosión, originally released in 1985. Spooky, meditative soundscapes inspired by the desolate volcanic environment of Lanzarote (Canary Islands), created using Minimoog, Polymoog, vocal loops, and field recordings. Originally recorded in Germany in 1978 by Spanish painter/sound artist Ildefonso Aguilar, only a selection of the original recordings were released a few years later on a very rare limited edition cassette and LP. Erosión is a masterpiece of proto-ambient, isolationism, and minimal synth music. For the first time ever, Erosión is reissued here on double LP, featuring the complete recordings, as Ildefonso conceived it at the time. Master tape sound; Liner notes in English/Spanish by Frankie Pizá (TIU Mag); Includes download code. RIYL: Edgar Froese, Conrad Schnitzler, Cluster, Klaus Schulze, Michael Stearns, Steve Roach, Brian Eno, Cozmic Corridors, Pina.
"Canary Islander Ildefonso Aguilar is best known for his paintings and surreal photography of the desolate volcanic wastelands of his homeland. He was also organizer of concerts at the Jameos del Agua in Lanzarote, a regular event which has featured the likes of Michael Brook, Roedelius, Steve Roach, and numerous other luminaries of ambient and atmospheric music. But, for his own music Ildefonso has never gained the mass recognition he really deserves. Erosión, recorded in 1978, is certainly one of the most fascinating of synth albums I've heard. And, it's remarkable really, if you consider all the technological advances that have happened since, what with digital synthesizers and samplers, that this music created entirely on analogue synthesizers still sounds so fresh and original... Beautiful yet strange, unnerving yet calming. Even more so, at 1¼ hours, Erosión reveals itself as a grand conceived suite, as themes recur in an almost ghostly fashion, as tension builds upon tension, and threatens to explode, which it never quite does! Extraordinary all the way through." --Alan Freeman (Audion Magazine)
After more than 30 years hidden in a dusty storage unit, Out-Sider present Eliminate Hate, the previously unreleased album from one of the most enigmatic bands from the Texas psychedelic scene, Wolfgang. An unusual blend of '60s garage-punk, Texas psychedelia (think 13th Floor Elevators or Golden Dawn), The Seeds, The Misunderstood, late era Velvet Underground, '70s era Rolling Stones and '70s pre-punk swagger. Awesome distorted steel guitar with super snotty vocals. Wolfgang were a young band from Pasadena, Texas, discovered by legendary Texas mogul C.L. Millburn. Little is known about the band and what exactly happened to them after recording this album. But, they were led by the great "Wolf", Mike Long (Stone Axe, Josefus) and they also featured an unusual steel guitar player whose electrified sound recalls Glenn Campbell at his best. In 1970, Wolfgang recorded a set of songs written by Milburn, originally intended as demos to secure a deal with a bigger company. Eight songs were taped using Milburn's trusty Sony two-track reel-to-reel, the same one he used to record childhood friend Townes Van Zandt in the late '60s. The major company deal never came so the tapes were stored at the Sea Ell archives for many years and Wolfgang disappeared in the mist of time. Three tracks from the Wolfgang sessions appeared on a compilation called The History Of Texas Garage Bands In The '60s Volume 1: The Sea Ell Label Story, released in 1994 by the Collectables label. They were credited to "The Wolves". Several years later, Michael Greisman from Cicadelic Records discovered the complete Wolfgang recordings while investigating the Sea Ell tape archive, and Milburn revealed to him the real history behind the Wolfgang project. The complete recordings have remained unreleased until now. Master tape sound; Insert with liner notes by Jeremy Cargill (Ugly Things, Got Kinda Lost)
Upside Down Volume One 1966-1970: Coloured Dreams from the Underworld
Particles present the first volume in their Upside Down series on vinyl for the first time -- a lysergic pop extravaganza featuring original artifacts from the psychedelic age with twenty flower power wonders from way down under. From the luminous void that wields such pleasures as Barry Crocker's "Imitation World" and other lysergic pop platters to the menacing feats of apocalyptic freakbeat courtesy of The Expression, Robbie Peters, and The Executives, Upside Down delivers twenty, long-forgotten relics from down under with a potent collection of psychedelic pleasures, circa 1966-1970. Other artists include: The Groove, Ronnie Burns, R Black and The Rockin' Vs, Normie Rowe, Magic, Trojans, Motivation, The Tallifer Group, The Twilights, Kevin McCann, Nineteen 87, Autumn, Dick Roberts and The Troubled Minds, and Nonesuch. Comes on 180 gram, lime-green vinyl; Includes a two-page, color insert with comprehensive liner notes and rare photographs; Edition of 1000 (hand-numbered).
"Joining Maurizio and Roberto Opalio on their fourth album for Starlight Furniture Co., legendary French-Corsican guitarist and co-founder of Groupe de Recherche et d'Improvisation Musicales brings his noisy lyricism to three long tracks of oddly sensual and animalistic space howl. As their past collaborations attest, My Cat Is An Alien's self-sustaining biosphere is an environment where the surreal dreamscapes of mavericks and eccentrics flourish. Jean-Marc Montera's home-made guitar table, objects, and electronics forge metallic ribbons that twitch between the distant clangs of gigantic spores, while Maurizio (on home-made double-bodied string instrument and effects) and Roberto (on alien-tronics, effects, and modified electronic devices) set worms adrift in a zero-gravity aviary stocked with narcotized satsuma fowl. Roberto adds disorientation to the trio's fog-blurred horizon with wordless vocalizations that could pass for billowing laments hooted by mutant sea mammals with enoki mushrooms growing on their larynxes."
An unreleased 1979 post-punk-post-disco banger from British musical maverick, Basil Kirchin. Back in the late 1970s, Kirchin was in Hull, working on numerous projects, documentary scores, and strange musical concepts. "Silicon Chip" is a rare surviving and most unusual work from the period, until now an unreleased slice of jumping, plugged-in perfection presciently celebrating the dawn of the computer-based industrial revolution. "Silicon Chips" is a set of quick electro blasts and logos, possibly conceived and written for library usage. Personnel: Gary Burroughs - vocals, guitar, keyboards; Danny Wood - drums; Dane Morrell - drums; Bernie Dolman - bass.
"In this month's issue: a conflab with Run The Jewels, hiphop's 24 carat duo of El-P and Killer Mike; a rare interview with Russian composer and Tarkovsky collaborator Edward Artemiev; a round up of Lisbon's new jazz vanguard; plus Dubplates & Mastering's Rashad Becker takes the Invisible Jukebox test; and not forgetting all the (un)usual monthly views, news, and reviews."
"Dan Melchior has become an unlikely 21st century experimental music icon. As the forms, signifiers and 'experiments' of the last several decades have become increasingly codified, one naturally begins to ask the question what the term in a contemporary setting means to the listener. If the performer and the audience both know what to expect before, during and after a record or performance, can it be considered an experiment? At the start of the century, Melchior was known in NYC as being a studied garage rock provocateur with songwriting palate that was equally insightful, vicious and emotive. This is not mentioned for alt rock bravado but to establish a pedigree that none of his immediate peers can claim, clearly showing a breadth of skill and technique they lack or refuse to engage in. Over the last ten years however, Melchior has continued to strip the edges off his music. On his new album, Melchior finds himself removed from any established school of sound. At times caustic, dubbed out and/or haunting, Melchior recalls obscure records we've never heard. The source sounds were mostly recorded on a little Sony mini cassette recorder. Some is live (pots and pans being hit -- etc.) slowed down on playback using the slower speed on the recorder -- some of it was recorded off of records and tapes, using the same recorder. The source sounds blurred to fit Melchior's tonal needs. Melodies arrive as well, the melancholy ballad 'Mall Walker' evokes images of Satie if he recorded for Vinyl On Demand. The influence of his wife Letha Rodman Melchior is clearly evidenced as well, their combined techniques explored through years of creative collaboration. What is an experimental record? Perhaps the best definition is, an album that you won't know what it sounds like until you drop the needle." --Steve Lowenthal. Mastered by Rashad Becker. Comes on 180 gram vinyl; Comes in an Old Style Tip-On jacket.
2017 limited repress; Double LP version. A stunning survey of the 1970s heyday of great Japanese singer and countercultural icon Maki Asakawa (1942-2010). Deep-indigo, dead-of-night enka, folk, and blues, inhaling Billie Holiday and Nina Simone down to the bone. A traditional waltz abuts Nico-style incantation; defamiliarized versions of Oscar Brown Jr. and Bessie Smith collide with big-band experiments alongside poet Shūji Terayama; a sitar-led psychedelic wig-out runs into a killer excursion in modal, spiritual jazz. Existentialism and noir, mystery and allure, hurt and hauteur. With excellent notes by Alan Cummings and the fabulous photographs of Hitoshi Jin Tamura. "Japan's answer to Scott Walker, with a visual aesthetic and a death-decadent appeal that is straight out of the Keiji Haino songbook." --Volcanic Tongue
LP version. Japanese legend, Keiji Haino, meets two of Belgium's most active and valued musicians, keyboardist Jozef Dumoulin (Lilly Joel) and drummer Teun Verbruggen (Othin Spake). The Miracles Of Only One Thing is a deep and intense testimony of this meeting. Keiji Haino, without any doubt one of the most important musicians from the Japanese underground scene, is at his best, Teun Verbruggen and Jozef Dumoulin did a three-week tour in Japan in September of 2015, playing concerts as a duet, but also solo and with local musicians. One of those musicians was hero Keiji Haino, whose work has spanned rock, free improvisation, noise, percussion, psychedelic music, minimalism and drones. Besides his legendary bands Fushitsusha and Lost Aaraaff, he has worked with artists and bands like Boris, The Melvins, Jim O'Rourke, Oren Ambarchi, Peter Brötzmann and Steve Noble. As for Dumoulin and Verbruggen, they are both known for their always refreshing and groundbreaking work that breaks the barriers between free improvisation, electro, jazz and more. Jozef Dumoulin is part of the duo Lilly Joel appearing recently on Sub Rosa with What Lies in the Sea (SR 416CD, 2015). The three teamed up for a studio recording and a recorded live-show. Out of all the material, they distilled an album that reflects both the excitement of the new bond as well as the deep and vast sonic landscapes that their joined forces laid bare. Personnel: Keiji Haino - guitar, vocals, flute, gongs; Jozef Dumoulin - Fender Rhodes; Teun Verbruggen - drums, electronics.
The Sound of Durban Vol. 1 (Pantone Cover)
The Sound of Durban Vol. 1 represents the first full-length compilation collecting the sound of the suburbs and townships of Durban, South Africa known as "gqom". The album unites many of the local young producers of this fresh genre over 15 tracks on a double LP. Rome-based DJ and musician Nan Kolè and South Africa-based Lerato Phiri set up the Gqom Oh! label to highlight the music and artists of Durban, the often-overlooked cradle of the new South African sound. Taking its name from an onomatopoeic Zulu word signifying a drum, this extraordinary, apocalyptic bass music encompasses many influences. Each polyrhythmic track draws on the darker side of electronic music, hip hop, sound system culture, kwaito, UK funk, and deep African vibrations. With its mix of ethnic tradition and urban tension, South Africa has been a cradle of cultural phenomena. In its own way it is a country of great wealth, particularly rich in contradictions, yet decades after the end of the country's apartheid, little appears to have changed for the millions of black people who live in its notorious townships. It is from this background that innovation is continually being injected into the living body of the local music culture. The heartbeat of Durban is gqom. Features tracks by: Dominowe, Forgotten Souls, Formation Boyz, DJ Mabheko, Emo Kid & DJ Bradolz, Citizen Boy, Cruel Boyz, TLC Fam, Julz Da DeeJay, and Emo Kid. Limited repress with a new pantone cover; Two additional tracks on the download card.
Overdrive present the first vinyl release of the 1974 soundtrack by Alessandro Alessandroni for the Giuliano Carmineo (as Anthony Ascott) directed Di Tresette Ce N'è Uno, Tutti Gli Altri Son Nessuno, known in English as The Crazy Bunch. The sequel to Lo Chiamavano Tresette... Giocava Sempre Col Morto (Man Called Invincible) released in 1973, the film is a goofy, slapstick comedy spaghetti-western, but the maestro's soundtrack is anything but goofy. Haunting, sparse, and riveting, the soundtrack is easily the best thing about this film. Presented on color vinyl.
"After spending the early '60s playing in groups with Cecil Taylor and Archie Shepp, trumpeter Bill Dixon recorded his singular and visionary masterpiece in 1967. Intents And Purposes remains not only Dixon's defining statement as a composer, but also one of the most luminous moments in the history of avant-garde jazz. Combining orchestral timbres with free jazz intensity, Dixon leads a ten-piece ensemble including such heavyweights as Byard Lancaster, Robin Kenyatta, Jimmy Garrison and Reggie Workman. Closing each side of the album, 'Nightfall Pieces I' and 'Nightfall Pieces II' are evocative duets featuring Dixon's flugelhorn accompanied by flautist George Marge. With Intents And Purposes, Dixon creates a work focused as much on sculpting and defining space -- emphasizing moments of resonant stillness around which the compositions thrum and swell -- as on purity of expression. This first-time vinyl reissue is recommended for fans of Art Ensemble of Chicago, Anthony Braxton and Henry Cow. 'One of the richest and most compelling LPs to taunt and tempt listeners into a life of freakdom.' --John Corbett."
Amer (Colona Sonora Originale Del Film)
We Release Whatever The Fuck We Want Records presents the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani's critically-acclaimed Belgian-French giallo Amer (2009). Filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation. Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past. Amer includes three songs by the great Stelvio Cipriani, well known for the marvelous soundtrack of poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino's Death Proof (2007), as well as music for countless cult spaghetti western and giallo movies. He received a Nastro d'Argento award for best score for The Anonymous Venetian (1970). The legend himself, Ennio Morricone also shows up on the soundtrack with a sexy and melancholic jazz number, while his longtime collaborator Bruno Nicolai delivers the hypnotic strings that carry the eerie and erotic mood of the film. Last but not least, the beautiful voice of beloved singer Adriano Celentano cements what is a must-have album for '60s and '70s Italian soundtrack fanatics. Limited edition of 500 comes on an arousing pitch black 10" vinyl, housed in heavy cardboard Old-style Stoughton tip-on jacket.
Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982)
"When most people think about Nigerian music, the first thing that comes to mind is Lagos -- the country's main commercial center, the glittering mega-city that spawned Yoruba-speaking music luminaries such as Fela Kuti, King Sunny Ade, Sir Shina Peters and Wizkid. But Nigeria is a country of rich diversity, especially in its music: From the Igbo highlife and rock bands of east-central region, to the deep Edo roots rhythms from the mid-west, to the keening, ornamented Fulani melodies of the north. But one region whose music has remained largely under-explored is the south eastern land of the Efik and Ibibio ethnic groups in Cross River and Akwa Ibom State -- the region colloquially referred to as 'Calabar.' A cradle of culture, this region was one of the earliest outposts of Nigerian popular music. Its primordial rhythms traveled across the Atlantic during the slave trade to provide the part of the foundation for Afro-Cuban grooves that would go on to influence the development of jazz, rock & roll, R&B and funk. With the new Calabar-Itu Road compilation, Comb & Razor Sound presents 15 heavy tracks recorded in the decade between 1972 and 1982, spotlighting rare music from 'Calabar' superstars such as Etubom Rex Williams, Cross River Nationale, Charles 'Effi' Duke, The Doves and Mary Afi Usuah. The package features a magazine-style booklet containing a wealth of information about the milieu with rare photographs and illustrations. The Calabar-Itu Road is the major artery linking modern-day Cross River and Akwa Ibom States. And Calabar-Itu Road: Groovy Sounds From South Eastern Nigeria (1972-1982) will link the region's music to the rest of the world!"
Antologia De Musica Atipica Portuguesa Vol. 1: O Trabalho
Antologia De Música Atípica Portuguesa ("Anthology of Atypical Portuguese Music") is a series focusing on new strains of Portuguese music with an (un-)characteristic foot in past musical traditions of the country; The aim being to re-evaluate its musical history, deconstruct clichés and re-assemble preconceptions into a new and daring musical landscape. Each volume will have a loose theme and will be comprised of Portuguese artists working on the fringes and not following obvious and commercial paths of musical homogenization. Vol. 1 explores o Trabalho ("work") - various work songs both at land and sea are freely reinterpreted in a multitude of ways. Including the vocal tape deconstructions of Live Low, the ethereal pastoral drifts of Negra Branca (Marlene Ribeiro from Gnod), free jazz experimentations of EITR (Pedro Lopes and Pedro Sousa), as well as a very rare solo outing by one half of Yong Yong, Luar Domatrix (Rodolfo Brito). Also featuring on Vol. 1 are the digital voice manipulations of Tiago Morais Morgado, visceral guitar exorcisms by Filipe Felizardo, exoteric chants by Gonzo, Calhau!'s mystic reinterpretations of lost pieces, and an exclusive composition by musician and instrument builder Peter Forest (Pedro Silva) dedicated to a long lost field working man's song, Maria Cavaca. RIYL: Sublime Frequencies, Folkways.
Editions Mego present the latest opus from legendary British composer, actor, sound designer and all-round fine human, Simon Fisher Turner. Giraffe is a new major work which blurs the lines between sound design and song, machine severity and narrative sentimentality. Subtitled "Living In Sounds And Music", Giraffe takes the listener through a vast journey where an abstract clacking of unknown origin rubs up against a melancholic electronic sequence. "Life sounds" were captured with a portable hard disc recorder and iPhone and appear alongside contemporary sound design. Emma Smith provides the narrative on "Slight Smile" whilst electronic machines grind amongst background industrial clang in "Mud Larks". "Save As" revolves around a beautiful simple piano motif which soon folds into an unnerving field recording and drone combination. Giraffe is a document of interior and exterior duality, a living space where machines and the surrounding world collide, a sonic landscape where musical and nonmusical elements are placed on an level hierarchy. The alchemy of these constituent parts results in the magic of Giraffe, one where the symbiotic sequence of events highlights a unique approach to sound as rapturous matter in whatever form it takes. "Colour Fullness" features Elysian Quartet and Sawada. Elysian Quartet are Emma Smith, Vince Sipprell, Jenny Logan and Laura Moody. Vocals by Misako Yabuuchi and Emma Smith. Recordings made from 2008 to 2016. Mastered and cut at Dubplates & Mastering; Engineered by Rashad Becker.
Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a sound autobiography that exhibits the skill, feeling, and depth of style that the artist has honed over a period of twenty years - musically - and forty-plus-years - emotionally. And full-length it is: The Golden Ravedays is an epic album of 24 tracks that, release-wise, will stretch over 12 respective chapters, or albums, during a one-year period by the record label, Hippie Dance. For The Golden Ravedays, Superpitcher employed everything and everybody he is moved by in service of creating a consistently melancholy, gentle, but also complex, strong and fiery mood. By allowing the sound to take its own free course, Superpitcher discovered a new macro-cosmos of noise that he captured in longer than usual tracks that, respectively, not only tell a story, but act as a memoir. Paging through this body of sound, one discovers a place that is haunting, adventurous, playful, velvety, and sometimes essentially surreal. It is similar in experience to diving into an unknown river, serenely floating by visions that consist of a jazzy quality, hitting white waters that drum forth memories and primal poetry all the way from Africa to forests long forgotten, to cascading down waterfalls of unexpected protest, menace and resistance. The sound of the first two tracks that kick off The Golden Ravedays saga is a good testament of the alchemy that is contained in the coming chapters. Like the metaphysical theory that every moment that exists only exists by virtue of all the moments that existed before its turn, "Little Raver" is a sweetly innocent but also heartbreakingly raw introduction to the lucky-packet of wit, depth, melancholy, confusion and cliffhanger surprises of the subsequent albums in The Golden Ravedays horoscope. On the B side, "Snow Blind" brings forth the clarity of sincere determination in an open sound expanse where clusters of melodies sometimes hide, sometimes shoot off and mercilessly stay out of reach and becomes unmaskable - a game that is often cleverly played by Superpitcher in the remaining phases of The Golden Ravedays album. LP includes download code.
Double LP version. Embers, the new album from Ross Tones, aka Throwing Snow, is a conceptually imaginative and musically atmospheric recording that draws stimulus from laws and patterns of the natural world. Excelling creatively from the freedom and restrictions of applying aspects of these elements, Embers emerges vividly from the processes employed in its creation. Recorded in Daddry Shield, County Durham, sounds captured in the surrounding area became part of the music. Rain is transformed into white noise, at one point a melody line is mimicked by a starling - all of which is the result of endless processes and cycles. The techniques used in creating Embers allegorically mirror these processes. Reproducing the way materials are reused in the natural world, tracks are born, live and then die only to be reborn into a new form. All the tracks have similar counterparts whether in structure, dynamics or melodies. Arpeggios self-evolve and are interconnected, randomness is introduced utilizing two similar pairs of synthesizers so that their cycles are ever changing and naturally evolving. Mastered by Matt Colton at Alchemy.
Los Angeles musician Jaws presents his third full-length album, Object Dom. The tracks on Object Dom are a sort of broken rave song, littered with open seams and loose-ends tangled amongst themselves in DIY fashion. Within that framework, it seems to intentionally mix-up positive and negative feelings through its instrumentation: familiar synth pulls and screeches characteristic of unbridled delight on the dancefloor are coated in a certain kind of messy rumble evocative of the feeling of wanting to throw up. Robert Girardin, aka Jaws, said this of the release: "The song takes tropes of Dutch rave, breakbeats, and hoover patches, squeezing them into a maximal pop-songs format of call and response, attempting to sonically recreate the dopamine rush of online notifications."
Khemia Records present the fourth and final edition in their current series - the Winter Solstice Edition featuring Codex Empire and Marmo. On the Solar Side, British born, Vienna based, industrial techno pioneer Codex Empire delivers "Sevde", an experiment in long-form techno. A massive, propulsive beast, punctured with hammered rhythms and sub-aquatic bleeps, a maelstrom of whiplash cracks, disembodied voices and electrostatic, reverberating across an insistent techno groove. On the Lunar Side Marmo present "Alchimia" a conceptual, straight-forward, complex music sculpture. "Alchimia" unfolds an epic sonic journey across vast swathes of desert. Transparent vinyl; Edition of 333.
LP version. 180 gram vinyl. Includes download code. Following their much-acclaimed surprise, self-titled debut album Vermont (KOMP 114CD/KOM 293LP) from 2014, Motor City Drum Ensemble's Danilo Plessow and Innervisions's Marcus Worgull reunite for more synth daydreaming on the suitably titled II. The new outing continues where the first full-length left off, strolling further down the luminous and undulating path that the duo turned into, influenced in equal measures by kosmische, krautrock, minimal wave and synth soundtracks. This latest batch of instrumental cuts opens with the strictly Balearic vibe of "Norderney", a softly swinging, light-footed recording with a keen sense for structure. Featuring a guest performance from Robbert Van Der Bildt (aka Kaap) on guitar, it's a telling starting point for the album that - similar to Vermont's self-titled debut - successfully navigates between economic, careful studio arrangements and playful, incidental exploration further pushing into jam session territory. Van Der Bildt's guitar returns on the plucky, curious "Ufer", where Vermont showcase a renewed sense for jazz-like improvisation - same as on the cuts "Dschuna", "Chanang" and "Wenik", which also include contributions from Dermot O'Mahony and Tadhg Murphy on strings. Still, Vermont's synth contraptions remain the album's main attraction, with the extensive array of gear encompassing an entire panopticon of analog bling - from Arp Oddysey and Moog Prodigy to Fender Rhodes, Juno and Prophet - list-studying gear heads will find lots to drool upon. Consequently, tracks like "Chemtrails", "Unruh" or "Gebirge" err on the machine side of things, expertly interweaving arpeggiated sequences for maximum atmospheric effect. Foreboding, slightly menacing synth motives as on "Skorbut" or "Chemtrails" are perfectly balanced with the casual ambient of "Hallo Von Der Anderen Seite" and the nostalgic warmth of "Demut" - while the gentle push of the masterful "Ki-Bou" even carries a whiff of classic deep house, linking the Vermont project to Plessow and Worgull's main careers as dancefloor movers and shakers. Continually intriguing, immersive and texturally rich, each one of Vermont's new pieces betray the experience, precision and determination of the producers involved - while opening up Worgull and Plessow's vocabulary for patient experimentation and subtle discoveries. A musical treat for synth aficionados - and everyone else.
"Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman's elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto."
LP version. Housed in a gatefold, Stoughton tip-on jacket. "13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood's greatest lines ever 'One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.' By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks. In what became the final days of LHI, staff producer Larry Marks's sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed... 13 was born. Includes a Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter; Includes previously unreleased session outtake of 'Cold Hard Times' plus never before heard Hazlewood compositions 'Drums' and 'Susie'; Download card for complete 13 sessions including Larry Marks unreleased album, session outtakes and acoustic demos, 29 tracks total. Liner notes by Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman and Suzi Jane Hokom."
Local Action presents Grotto, the long-awaited second album by Lil Jabba. Jabba made his name producing hypnotic juke and footwork records back when he was based in Baltimore, quickly catching the attention of footwork figureheads like the late DJ Rashad. His early music was self-released or issued via small-run cassettes, but built Jabba a cult following online. In 2013, Local Action released Scales, a critically-acclaimed collection of Jabba's key material to date, described by Dummy as one of the year's "most singular albums." Grotto is the encapsulation of his story so far; It's a genre-less record that draws from dub, Southern hip-hop, jungle and more without ever conforming to stereotypes, driven by the moonlit melodies and dynamic shifts that have always been present in his work. This is one of electronic music's most individual voices in its most realized form yet.
Brasserie Heroique Edits Part 3 12"
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My Good Friends Tell Me That 12"
Deathward, To The Womb LP
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Sferic Ghost Transmits 2LP
Live At The Palladium New York Halloween 1977 CD
E Je Ka Jo (Let's Dance) CD
I Want To Feel Your Love CD
Union Of The Supreme Light LP
The Miracles Of Only One Thing CD
Ishq Ke Maare: Sufi Songs from Sindh and Punjab, Pakistan LP
I Want To Feel Your Love LP
Singing Of Liberation 12"
Music From The Insider II Cassette
Under The Eyes Of Augustus Cassette
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Will The Circle Be Unbroken? LP
The Phil Spector Christmas Album LP
Antologia De Musica Atipica Portuguesa Vol. 1: O Trabalho LP
The Sound of Durban Vol. 1 (Pantone Cover) 2LP
Winter Solstice Edition 12"
Di Tresette Ce N'e Uno, Tutti Gli Altri Son Nessuno LP
Honey's Dead (Gold Vinyl) LP
Vol. 3 - Aviation Grand Father CD
Vol. 3 - Aviation Grand Father LP
E Je Ka Jo (Let's Dance) LP
Sweeter Than Honey, Calypso "Mahuno" And High Lifes Celebration CD
Sweeter Than Honey, Calypso "Mahuno" And High Lifes Celebration LP
We Suck!: The Lost 1982 Album LP
Opposite Reaction Vol. 1 12"
Analog and Digital Electronic Music #2 1980-2000 LP
The Miracles Of Only One Thing LP
Amer (Colona Sonora Originale Del Film) 10"
De Expugnatione Elfmuth (Purple Vinyl) LP
Lost In Wonderland (Yellow Vinyl) LP