Space Echo: The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed
Analog Africa presents a compilation of dancefloor grooves from Cabo Verde, revealing the mystery behind the island's cosmic synth sound. Located 350 miles off the coast of Western Africa, Cabo Verde (or Cape Verde) is an island country that was first incorporated as an overseas department of Portugal in 1951 before later attaining independence in 1975. This collection captures a vital musical period during the late '70s and early '80s when the introduction of synthesizers facilitated the modernization of local rhythms such as Mornas, Coladeras and the highly-danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality. In the spring of 1968 a cargo ship containing instruments made by many of the leading companies in the field of electronic music -- including Rhodes, Moog, Farfisa, Hammond and Korg -- set out for Rio De Janeiro, where the Exposição Mundial Do Son Eletrônico Exhibition was going to be held. The expo was the first of its kind, where companies were eager to present their newest synthesizers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia. However, the ship with the goods mysteriously disappeared from the radar on the same day it set sail. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields 8 km from any coastline. Mystery permeated the event. Cosmic particles were said to have been discovered on the boat, where the bow of the ship showed traces of extreme heat similar to traces found on meteors. A team of welders arrived to open the containers. Hundreds of boxes contained keyboards and other instruments they had never seen before: and all useless in an area devoid of electricity. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass. It is said that charismatic anti-colonial leader Amílcar Cabral had ordered the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was the best thing that could have happened -- keyboards found fertile grounds in the hands of curious children, who picked up the ready-to-use instruments. The children who came into contact with the instruments found on the ship were said to have inherited prodigious capabilities in understanding music and learning the instruments. One of them was the musical genius Paulino Vieira, who by the end of the '70s would become the country´s most important music arranger. Eight out of the fifteen songs presented in this compilation were recorded with the backing of the band Voz de Cabo Verde, led by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde." Tracks by Abel Lima, Antonio Dos Santos, Elisio Vieira, Americo Brito, Os Apolos, João Cirilo, Tchiss Lopes, Quirino Do Canto, Pedrinho, Fany Havest, Bana, José Casimiro, Dionisio Maio and António Sanches. CD includes 44-page booklet with extensive liner notes.
Christian Naujoks follows his 2009 self-titled debut (DIAL 013CD) and his piano-focused 2012 follow-up, True Life/In Flames (DIAL 024CD/LP), with his third album, Wave, a work dedicated to the electric guitar. Inspired by The Durutti Column, John Fahey, Vincent Gallo, Azalia Snail, David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism; between folk music and contemporary art. The recording sessions at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his work with Kreidler, Faust, Felix Kubin, and Pantha Du Prince & The Bell Laboratory, to name a few. With Wave, Naujoks and Levin create a seductive, state-of-the-art production of ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs. This release follows Naujoks's work with his band Sky Walking (with RVDS and Lawrence) and his 2016 piano cassette on Martin Hossbach's eponymous imprint (CABACH 001CS).
The Detroit duo, DeepChord and Echospace also record under a variety of monikers (cv313, phase90, variant, etc.) and have continued to carve out an evocative, immersive sound born out of a love and passion for analog circuitry, sound design, field recordings and non-conventional methods of recording. But it's also work that's quintessentially building upon the Detroit electronic scene where it was born, and that divine marriage of roots and vision make the work at once so highly considered, so pertinent and so timeless. On this new project they collaborate with one of their closest friends and mentor, the late Michael Mantra. Michael's theories on 'Brain Hemisphere Harmonic Healing' were instrumental in the development of vibrational and sonic therapy. His experiments in the neural affects of sound paved the way for what has now become healing music. Echospace plays Michael Mantra's Sea Shell City is a 70-minute voyage into the furthest depths of the mind, featuring three tracks of ambient drone-based sonic worlds. On this album, sounds were sculpted with the use of hydrophones, piezoelectric transducers, wind harps, and binaural dummy-head microphones creating snapshots of normally unheard sonic worlds. Analogue oceans in slow motion, allowing one's mind to float into those mystical quiet zones, the brain hemisphere-sync effect Michael Mantra fostered for nearly three decades is ever present. "We're continuously reflecting on the teachings of Michael and in his honor, preserving the essence of sound and vibrational healing through music for immersive journeys into the vast beauty of atmosphere, the mind, nature and the inner self. Mike believed that listening with our whole heart and soul was the key to enjoying life to the fullest. He created auditory gradients for changing states of mind, and believed sound was the key to unlocking unseen universes. He dedicated himself to the spiritual liberation of all sentient beings through his sound-works. Desmond K. Hill once said that Mike's neuro-soundtracks could "radically transform the way human beings function psychologically". After 20-30 minutes of listening, I was incredibly relaxed with a lasting sensation of well-being. No concerns or thought crowded my mind, firmly in the present as opposed to being under the influence of memory or worries about the future, completely located in the now, with intense clarity, and deeper crispness of visual perception and thought." - Echospace
Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich's famous Langstrasse, exploring real-life stories. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country's most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines, Spoerri successfully infused vibrant bursts of sonic color into the monochrome imagery of the program, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era. In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger. Other players on this session include Latin multi-instrumentalist Antonio Conde, pianist Renato Anselmi and trumpeter Franco Ambrosetti. The final icing on the cake for this session would be the inclusion of Switzerland's leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet. Langstrasse Zwischen 12 und 12 sees Spoerri explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post-concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early '70s glimpse into Spoerri's narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.
Wake Up You! Vol. 2
"The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. Presented in two volumes, each in a 100 page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves."
Peace & Rhythm presents the double 12? LP by Los Terrificos. Taking inspiration from Latin, African, Caribbean, North and South American sources as diverse as the ?narco corridos? of Mexico and Afrobeat, not to mention Cowboy Western film soundtracks, surf, psychedelic Amazonian cumbia, dub, electronica, funk, Andean folk, even disco, this record is wide ranging yet cohesive. Go South has a unique, dynamic hybrid ?narco-delic? sound that leaps out of the speakers (having the vinyl on 45 RPM helps). Jake Fader, one of the two principal members of the band, says the record ?is a soundtrack that has no film (yet). It is a diverse album that is not a traditional representation of any of the many genres it is influenced by. The only real rules were that the songs had to be a little freaky and mysterious.? As the other primary member of Los Terrificos, Ray Lugo (Kokolo, The Boogaloo Destroyers), explains it, ?We discussed how long the process of making an album can sometimes be and thought it would be fun to try to write, record and mix an album within 30 days. We chose the sounds of South America because we had been listening to a lot of super funky music from Peru, Colombia and Panama.? The liner notes feature a bilingual story inspired by the music; housed in a gatefold sleeve.
"Cloud One was always a studio outlet for Patrick Adams to experiment. Even after the success of Atmosphere Strut, Adams continued to experiment with synthesizers (in particular the minimoog) to make this his signature sound or 'voice' as he called it. An indeed his usage of the synth was completely different from some of his contemporaries. With titles like 'Jump, Jump, Jump, Funky Track,' 'Stomp Your Feet and Dance' or 'Music Funk,' it was clear the spirit of this music was in Harlem. It's no surprise Adams felt at home in the many P&P subsidiaries. "P&P became this place where artists could be free, as opposed to an Atlantic Records or a Columbia Records, where everything is high spit and polished...We never told anybody on P&P what they could or couldn't do, what they should or shouldn't do. It was like, 'Go for it, if you want to bang pots and pans together, that's your sound." And what a Funky Sound it was. Official reissue of the rare sophomore LP by Cloud One."
21 year old Norwegian techno classic Plugged by Per Martinsen aka Mental Overdrive gets the expanded and remastered treatment on Full Pupp's "techno not techno" offshoot Rett I Fletta. He first entered the world of music-making by playing drums in local post-punk outfits, but moved on to electronic instruments when he bought his own Roland TR-808 drum machine in 1983. He ended up in London in 1987, where he spent his days squatting in Hackney and working as an assistant programmer in This Heat's seminal Cold Storage studio in Brixton. Hit by the wave of Chicago house and Detroit techno invading London at the time, he soon found himself experimenting with making beats inspired by these new sounds merged with the '80s sounds he was accustomed to from his pre-London era, like industrial music and EBM. Here he met Renaat Vandepapeliere of R&S Records, and soon found himself doing sessions with David Morley and Joey Beltram at the R&S headquarters, resulting in the release of his first EP under the Mental Overdrive moniker in 1990. A series of EP's for R&S followed, and after relocating to Norway after some time, the debut album Plugged was released on his own label Love OD Communications in 1995. In 2014, Daniel Blackbelt Andersen brought his shabby copy of Plugged along to one of the regular Full Pupp shindigs and played Prins Thomas a couple of the slightly more "ambient" tracks off the album stating it would be a dream come true to remix all of these tracks and that he'd spoken to Per about getting hold of the stems, if any. A plan to re-issue the whole album with a couple of new remixes formed. Per also went through his archives and found the original Akai S 3000 formatted floppy disks, all the pre-masters, alternative takes and unreleased tracks that did not make it to the finished album. The sleeve has been lovingly redesigned to match this "expanded" edition by Eirik Seu Stokkmo at Metric Design so a good couple of reasons to grab this new version if you're the lucky owner of the original record.
"Recorded across two nights in 1981 at New York's legendary Performing Garage and originally released in 1983 on cassette, Symphony No. 1 has been remastered for vinyl and reissued for the first time as a heavyweight 180 gram 2LP set in a deluxe gatefold jacket. The limited edition pressing features additional liner notes written by Lee Ranaldo (Sonic Youth) alongside the original notes by Jon Pareles (The New York Times) and now includes photos by Paula Court (New York Noise). The ensemble of performers on this recording are: Glenn Branca, Craig Bromberg, Dave Buk, Ann DeMarinis, Barbara Ess, Robert Harrison, Thurston Moore, Lee Ranaldo, David Rosenbloom, Richard Edson, Ned Sublette, Wharton Tiers, Gail Vachon, Fritz Van Orden, Stephen Wischerth and Margot Zvaleko."
Following her acclaimed 2014 debut, Ett (EMEGO 190LP), and the subsequent Msuic EP on Peder Mannerfelt's eponymous label (2014), Klara Lewis presents her second full-length, Too. Lewis's skill at sculpting the hermetic shines on Too as she twists her idiosyncratic vision into nine tracks of blurred rhythms and haunted backdrops. Too is a powerful statement in which the individual works tread a vast landscape as dour and aggressive elements rub shoulders with warmer, more optimistic works. Neither looking behind nor forward, these works spiral in a time of their own devising, presenting themselves as a most audacious theater for the ear. With a strong momentum developed from an organic outset the works move into a logic of their own, forming themselves as abstract landscapes, jittered rhythms, and even pop-like structures. Too is a deeply engaging display of sound and skewered sensibility that hovers on the cusp of reason and eludes the concrete. The results are Lewis's boldest statement to date. Written, produced, and mixed by Klara Lewis. Additional sound contributions on "Twist" and "Want" by Simon Fisher Turner. Mastered and cut by Rashad Becker at D&M, February 2016. Drawing by Klara Lewis. Layout by Andreas Karperyd.
"Proto-punk and garage Zamrock: the celebrated guitarist Paul Ngozi's essential debut album. Featuring Chrissy Zebby Tembo. Guitarist/vocalist Paul Ngozi's debut album ? under the name Ngozi Family - is an important record: not just in the Zamrock genre, but in the global rock canon. Day of Judgement is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo's My Ancestors) that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. Day of Judgement was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH's Lazy Bones!! to Rikki Ililonga's Zambia. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family's attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock's most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the '80s; an inspiration to not only aging but young Zambians -- and now others, beyond Zambia's borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world - from the Ramones to the Sex Pistols to Death. And, though it's been over two decades since Paul Ngozi's passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new."
Look up, look all around you, dump the fucking rubbish, and rise up. Listen to the sound of being alive. Whitehouse. Brand new masters by Noel Summerville of the twelve most intense anthems you will ever know.
of Grog Vim is the 15th album by Italian experimental cult band Larsen. A cinematic take on the epic life of the legendary visionary Grog Vim. After two albums deeply marked by the smoky voice of "dub diva" singer Little Annie, of Grog Vim is the first fully instrumental album to be released by the band since they started in 1993, and features special guest multi-instrumentalist Thor Harris (of Swans fame) on trombone on two pieces. All music written, performed and produced by Larsen: Fabrizio Modonese Palumbo, guitar, electric viola, diddley-bow; Marco "il Bue" Schiavo, drums, cymbals, glockenspiel; Paolo Dellapiana, electronics, keyboards, accordion, thumb piano; Roberto Maria Clemente, guitar.
The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronized by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos, De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere and presented here in full soundtrack form for the first time. Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor's most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell's well- polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco's filmography of approximately 203 completed movies. The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco's sexually stylistic watermarks adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve's The Witchfinder General (1968) and drawing comparisons with scenes from Eiichi Yamamoto's Belladonna Of Sadness (1973) this B-Movie reduction of Franco's wide palette of colorful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Underground, overambitious, right on, leftfield, below the radar but above criticism. indulgent and outrageous, but never middle of the road, Jess Franco was many things but he wasn't pretentious and never delivered art for art's sake. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.
Virginia steps up with her first full-length on Ostgut Ton, playfully answering all questions and rhetorics about love, lust and life with her singing on eleven new songs. Fierce For The Night is co-produced by renowned artists Dexter, Martyn and Steffi. The album offers a very personal insight to her inner self while drawing from club culture's long and rich history. Virginia says, "My challenge was writing an album that works as well on the floor as it does in a home-listening context, that consists of songs rather than tracks," she continues "Electronic music doesn't necessarily need a political message. On Fierce For The Night I've focused on club culture's basic principles: found and lost love, frenzy and extreme emotions." Having worked on songs for many years before and having collaborated with others was another motivation to elaborate her songwriting and put it into a new context. Virginia uses her voice as another instrument in the writing process. "At times one word I pick is the starting point to develop the rest of the song and to add meaning. That's a different approach to songwriting, but it's a very much flow-driven way of writing." An approach that also refers to and reflects Virginia's craft as a DJ, where records come in one at a time and not only need to connect to the one before and the one after, but also to the floor. Fierce For The Night is, music-wise, an album deeply rooted in club culture while staying approachable for listeners that might not be regulars on the dancefloor. A pop album that playfully defies the schematic formulas of pop music. There is dancing and muscles being flexed in "Bally Linny", "Lies", "Funkert" and "Raverd" (both serving as the album's lead-single on 12" vinyl), "Follow Me" and the eponymous "Fierce For The Night" ? Cheerful and energetic songs that can be played out over the course of a club set, but just as well click with home stereo or radio listeners. And while all songs have personal stories behind Virginia's songwriting, there is also a classic Pop music narrative: making music approachable and offering meaning that people can connect to their own lives. Fierce For The Night is therefore first and foremost an album about relationships: A very personal reflection of Virginia's own experiences so far, but also about the once intimate, now loose connections between everyday people.
First ever vinyl reissue of Caroline K's outstanding 1985 album, Now Wait For Last Year. This haunting, wistful work of post-industrial synthesizer music - the late Nocturnal Emissions co-founder's only solo record - has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely sought-after. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Caroline Kaye Walters, aka Caroline K, describes as "from the sustained ambient tension of sidelong opener 'The Happening World' to the future-primitive rhythms and stately piano flourishes of 'Animal Lattice', and the melancholic, deep-frozen synth sequences of 'Chearth'." Fans of Wendy Carlos's A Clockwork Orange, Chris Carter's The Space Between, and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all.
LP version in deluxe silver foil sleeve. Limited edition of 499. Includes poster. The long-awaited debut album from Hashish. Top-class psychedelia, taking the genre to a new level with a sophisticated approach to Afro-funk grooves accompanied by dreamy, playful melodies that range through a spectrum of Scandinavian occult psychedelia, minimal synth, surreal electronic soul disco, and rare groove. Some have described Hashish as a project that picks up what Goat started. Welcome to tomorrow. The sounds transport the listener into a forgotten world where the future looks different from what it became. On his soft, subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun, raining sacred melodies on the hearts and minds of humanity and bestowing desperate loves and yearnings with songs of sainthood and madness. Transient temples of the flesh, laughing at death, clothe our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire. Upon release the album sky rocketed straight into #1 on the official Swedish vinyl chart.
2016 repress. Originally released in 2009. On MPLSound, Prince took his retro mission to offer up such tight, funky electro grooves as "(There'll Never B) Another Like Me" and "Ol' Skool Company." Part of what was originally released as a triple album was also released as a double LP with Lotusflow3r. "Prince played every instrument on MPLSound just like the old days, only now he gets obsessive with Pro Tools. He isn't as bawdy as he once was (becoming a Jehovah's Witness will do that), but he's still got a lot of humor and swagger. On the funky '(There'll Never B) Another Like Me,' he sings about his beauty routine (it involves olive oil in his hair), and on the seven-and-a-half-minute 'Ol' Skool Company,' he covers issues from the TARP bailout to the state of radio ('If the White House is black/We gotta take the radio back')." - Gavin Edwards (Rolling Stone, 2009)
LP version. Numerous threads run through the music of sound artist, composer, and producer Michel Banabila (born 1961), whose contemporary work ranges from adventurous electronic cross-breeding of chamber instrumentation through industrial rhythmic sampling and outwardbound modular synthesis to deeply elegiac drones. This set collects the Dutch artist's instrumental 1980s work -- beautiful minimal loop-based electronica, classical-influenced pieces, and ambient drone music -- documenting his early years with material originally released as cassettes, vinyl EPs, and limited CDs. Banabila's piano echoes with a disarming simplicity, its atmospheric gestures bringing to mind the proto-minimalism of Erik Satie. The melody could easily be an additional hundred years old -- except for the fact that the refined patterning is something that likely only could have been pursued in light of the music of Michael Nyman and Philip Glass. The equipment on which this music was made, notably an early sampler, was limited in various ways, key among them the relatively circumspect set of capabilities, especially in terms of memory storage, and the lack of received performance techniques. The equipment was simple and it was new, and neither factor limited Banabila's ambition; on the contrary, the tools concentrated his imagination. If the classical pieces represent the Old World as framed by the new, then the more recognizably "electronic" work here is likewise most at home in a fictional place, an idealized zone. That zone is a quiet neighborhood in the Fourth World, to borrow Jon Hassell's terminology, one in which digital tools render something that is, for all its technological dependency, ultimately a form of folk music -- an otherworldly folk music for another time. Fidgety percussion plays amid a fierce but restrained guitar line (there are echoes of Laurie Anderson and Adrian Belew). An ambiguous and elongated drone, thick with subliminal activity, beautiful in its toxic anxiety, suggests dire activity on the horizon. And yet the horizon wasn't dire. Quite the contrary; what was ahead for Banabila was a long string of releases, a healthy and well-documented career in which so many of these individual threads have been provided time and space to have entire records dedicated to their pursuit. This album of archival works documents the continuity inherent in Banabila's music. It is a map in musical form, tracing a path that crisscrosses back and forth between the Old World and the Next.
LP version. Includes CD. "In October 2014 an idea suddenly came to mind. Although I had spent much of my life performing, recording and producing music, my attention over the immediately preceding years had been focused on the philosophy and psychology of human nature. It was a rewarding exploration, but I missed being more creative -- suddenly I felt the urge to play music again. I built a recording studio in my basement and began writing material for the first time in a long while. In November I called Edgar Froese and we met in early January 2015 in Austria. It was an extraordinary encounter and it seemed like it would lead to a renewed collaboration after several decades. As many of you now know Edgar passed away on January 20th 2015, I miss him dearly. Machines of Desire is filled with many influences, not least of them, my time with Tangerine Dream. Recording this album has been a very rich experience that fulfilled my creative desires, with more to come. The title, Machines of Desire, reflects my belief that as human beings we're driven relentlessly by our deepest desires: the desire to experience life and love, to be heard and seen, to connect with others, to be safe, to find meaning and purpose . . . and countless more. We find ourselves in the drama of everyday life with uncertainty at every step, with fear of loss and existential loneliness, and only occasionally interrupted by the fundamental joy of being alive." --Peter Baumann, February 2016
Cititrax: Tracks Volume Two
"Cititrax is excited to present the second in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume Two features the fearless and ultra-talented Chinese producer Tzusing, the raw avant-garde electronics of London based producer L/F/D/M, creative West Coast powerhouse Silent Servant, and prolific underground French producer Maelstrom. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor. Artwork designed by Veronica Vasicka and sourced from Polaroids shot in NYC clubs in the 1980s, Cititrax: Tracks Volume Two is pressed on blood red clear vinyl -- limited to 999 copies and housed in a matte printed sleeve."
Limited 2016 repress. This release will undoubtedly be met by the same deep breaths that have been shared by the small group of collectors who, over the past few years, have held original copies of this rare Folkways release in such high regard. In simple terms this LP is the kind of record you wished existed while nothing really came close to the mark. Respectfully and subtly combining traditional Persian instrumentation, modular synth exercises, field recordings and tape manipulation -- this debut release from 1985 by Dariush Dolat-Shahi bridges multiple cultural and stylistic voids and vindicates the vinyl-buying market's disparate interests in bygone Eastern experimental rock music, radio-phonic experiments, musique-concrete, sound design, neo-tantric meditational records and other early accidental acidic electro murmurs. For those who enjoyed the re-contextualized music of Ilaiyaraaja and Charanjit Singh while holding tight to the legacy of Pierre Schaeffer, Daphne Oram, Ilhan Mimaroglu, and harbor penchants for all things drone, Teutonic, electronic, demonic, and euphoric, this record has just changed all your plans for the weekend. A perfect primer for the aforementioned labels and a proud indication of what to expect from this eternally studious camp in 2013. Cut at Dubplates & Mastering.
Elon Katz (White Car, Streetwalker) aligns perfectly with Diagonal in a prickling debut vocal release, The Human Pet; containing an intensely personal, puckered perspective on electronic dance music and experimental pop. Structured around a schizoid yet coherent juncture of EBM, IDM, curdled rock music and art school techno-pop, The Human Pet is riddled with idiosyncratic notions on "cryptic topics like rebirth, nullification in stream speed adaptivity, dependence and wealth inequality" to portray a unique intellect and sonic vocabulary operating at the crux of his expressive powers. The project began circa 2012, around the time of Katz's relocation from L.A. to art school in Chicago, and cocks a canny snook, both through candid lyrics and obsessive edits, back towards the megatropolis where he was born and spent much of his youth. It can therefore be considered an attempt to better understand himself in relief of big city manias by channeling and parsing his own stubborn outsider personality from the madness. It feels like a concise dissection of Chicago's industrial history and Californian digital psychedelia; probing at their twisted, fluoro-guts with the inquisitive nature of a mad scientist or psycho-analyst between the yelping, warped and hyper-piquant yacht boogie of "The Rhino Powder of New Sensitivity" and a heavily affected dislocation of harmonized pop hooks and whirring body mechanics in "Clean Crash". It all occupies a strange perch between introspective and exuberant, veering from mid-'90s Aphex Twin-like pop reflection in "You Are Alone", to signature Diagonal tackle in the gas-chugging EBM-pop force of "The Human Pet", whereas unarmed twists into fractal phantasies, all of which maintain a thread of logic that belies the record's period of refinement and distillation. There can be little doubt that this is one of the most complex, rigorous and distinctive in Diagonal's catalogue. Closer attention is required. File amid records by Luc Van Acker, Aphex Twin, Savant, Powell. Mastered and cut by Matt Colton. Artwork by Guy Featherstone. Edition of 500.
LP version. Christian Naujoks follows his 2009 self-titled debut (DIAL 013CD) and his piano-focused 2012 follow-up, True Life/In Flames (DIAL 024CD/LP), with his third album, Wave, a work dedicated to the electric guitar. Inspired by The Durutti Column, John Fahey, Vincent Gallo, Azalia Snail, David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism; between folk music and contemporary art. The recording sessions at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his work with Kreidler, Faust, Felix Kubin, and Pantha Du Prince & The Bell Laboratory, to name a few. With Wave, Naujoks and Levin create a seductive, state-of-the-art production of ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs. This release follows Naujoks's work with his band Sky Walking (with RVDS and Lawrence) and his 2016 piano cassette on Martin Hossbach's eponymous imprint (CABACH 001CS).
First split LP in a brand new series of collaborations, pairing artists working on the fringes - or not at all. This first split pairs Brighton's Blood Stereo's tape gonk with Hair & Treasure's farm life loops. Blood Stereo are Dylan Nyoukis and Karen Constance, a British institution, the sound complete immersion for people who don't immerse easily. Idiot twins Burchill and Slim may behave as though they own Sussex, but Constance and Nyoukis are immune to their surroundings, making livid eyes at confused glitter vixens up and down this squalid Isle. Hair & Treasure are Alex Jones and Gonçalo F Cardoso, a prankster randy dust duo from nowhere dwelling on tape loops and webbed finger piano ballads. The material was culled from a mound of who cares electro-acoustic improv sessions as an offering to the associated deities of the zwieback buttermilk trade.
The Burrell Brothers Present: The Nu Groove Years Sampler 12"
Live At The Apollo 1972 2LP
Heavy Psych Sounds Sampler CD
Symphony No. 1 (Tonal Plexus) 2LP
English Songs Volume 2 7"
Wake Up You! Vol. 2 CD/BOOK
Space Echo: The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed CD
Realization For The Ear + Remixes - Interpretations 2CD
Q Street/Wolfpack (45 Edit) 7"
Situaciones/Ciudad de Nadie 7"
Langstrasse Zwischen 12 Und 12 LP
Funky Disco Tracks of Cloud One LP
The Sound Of Being Alive CD
Lixiviation - Ciani/Musica Inc. 1969-1985 CD
Scattered, Smothered & Covered LP
Cititrax: Tracks Volume Two 12"