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viewing 1 To 25 of 25 items
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NN 032LP
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2022 restock, last copies. Over the course of five decades, the legendary Austrian free jazz collective Reform Art Unit (and their offshoot groups) have collaborated with countless musicians, including Don Cherry, Carla Bley, Evan Parker, and Jim Pepper. Documented collaborations with free jazz notables include Impressions (Kovarik's Musikothek, 1978) with Anthony Braxton and Clifford Thornton; Subway Performances (Granit, 1994) and Illumination (InRespect, 1995) with Sunny Murray; and With Milo Fine (Granit, 1999). Milo Fine's lengthy resume includes numerous records as leader of his own group (the Milo Fine Free Jazz Ensemble) as well as collaborations with Joe McPhee (MFG in Minnesota; Hat Hut, 1978, & Old Eyes; Hat Hut, 1979) and duo encounters with Derek Bailey (Scale Points on the Fever Curve; Emanem, 2003) and Anthony Braxton (Shadow Company; Emanem, 2004). In May of 2015, Fine fulfilled a personal ambition by hosting the first North American appearances of Reform Art Unit founding members Fritz Novotny and Sepp Mitterbauer. Three nights of extraordinary and intimate concerts ensued at Minneapolis' Studio Toile d'Angles. This limited edition LP was culled by Nero's Neptune from over three hours of material, and consists of three pieces featuring two sextets and one nonet. Joining the core members of reformARTwest (Novotny: soprano sax/flutes/percussion; Mitterbauer: trumpet/percussion; Fine: drum set/piano/clarinets) are Elaine Evans, Daniel Furuta, Benjamin J Mansavage Klein, Davu Seru, Charles Gillett and Paul Metzger. For Sepp is dedicated to the living memory of Sepp Mitterbauer, who died on December 9th of 2015. Mastered by Carl Saff. Housed in a beautiful, tip-on jacket with full color artwork. Edition of 300.
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NN 020LP
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Currently out of print on CD, Michael Yonkers's Grimwood finally receives its long-overdue vinyl re-release (with download code included). Yonkers's first four LPs were released simultaneously in 1973, but it is Grimwood, his first, that regular commands the biggest bucks on the collector-scum market. Recorded in 1969, less than a couple years after the material eventually released as Microminiature Love, Grimwood sounds like it emanates from another universe entirely. Straightforward on the one hand, yet fascinatingly and psychedelically abstruse on the other, Grimwood remains an essential "outsider" document that sits comfortably (and irreplaceably) alongside Spence, Grudzien, Tweddle, and a few select others. "It would seem that Yonkers followed a trail that psychologically parallels the sun life highway, and his private flight took place in a presumably small hut, nestled on a lemonade lake, and from his chimney wafted rainbow smoke, in the fantastical haven of the mystical, mythical grimwood town for which the rec is named, as he attempted to allow light / space into areas of his psyche that hadn't seen enough of either in some time." --Karl Ikola, liner notes to 2007 CD reissue
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NN 028LP
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Paul Metzger's choices of instruments involve strings and necks, but he is not content to leave them in their original state. On 1300, his ninth solo album and third for Nero's Neptune, Metzger performs on modified guitar and 23-string banjo. The first of the album's two side-long improvisations, "Meend for Shaista," displays the earliest of Metzger's experiments in modification, a revamped Yamaha guitar first displayed on his 2005 debut. The instrument has evolved considerably since then. The neck is now covered in fretless steel, many sympathetic strings have appeared, and a ride cymbal has been attached to the bottom. Metzger applies a percussive string technique and an unorthodox flamenco approach with his right hand, while his gliding left reveals the hidden beauty between the notes. As the piece unfolds, Metzger accompanies himself on tabla while simultaneously playing the guitar; it is at times hard to believe the recording is a one-pass live improvisation made by a single player. On the second side, "Death's Other Kingdom," Metzger breaks out his 23-string banjo. The banjo has extra strings added (including a zither-like spray of 13 fanning out over the drum head), with the skin and sides of the banjo utilized for percussive effect. The piece begins with a slow-burning bowed section. Metzger's bowing has evolved from single-note glissandos into a full-neck chordal style, showing impressive strides in development and refinement. Echoes of North Indian classical music, 12-tone music, and Asian musical forms inform his work. Once the bow is set aside, Metzger's dexterous finger-work and flat picking bring forth a thematic arc, building to blinding velocity as the piece comes to a climax. The cover of the album features the artwork of Metzger's paternal great-grandfather Max Kleiter, whose drawings appear in early issues of the German art nouveau publication Der Jungend. The piece dates from 1901, but is as timeless and singular in style as the music contained within.
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NN 019LP
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After moving to Denmark in 1972 and abandoning music for a spell, the legendary Spider John Koerner returned to the U.S. in 1974 to record an LP for Dave Ray's Sweet Jane label. The resulting record is one of the finest of his 50-plus-year career. As its title implies, the album displays a conscious move away from the folk-blues stylings of earlier recordings and toward an embrace of traditional American folk music. The enduring quality of its songs is evidenced by their continued inclusion on Koerner's set lists over 40 years later. This first-ever reissue of Some American Folk Songs Like They Used To is the fourth release by Koerner on Nero's Neptune. Available in a limited artist's edition of 300 numbered copies, the record is mastered from remarkably well-preserved first-generation reel-to-reel tapes. The lacquers were cut by Ralph Karsten at Atma-Sphere, and the LP pressed at RTI. There is no digital technology used at any point in the process. Not only is the sound better than on the original 1974 release, but the beautiful, hand-printed covers feature new and improved artwork from a woodblock designed by Nero's Neptune art director and recording artist Paul Metzger.
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NN 027CD
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Danny Kroha is a founding member of The Gories, who released two albums and a handful of singles containing influential blues/punk between 1986 and 1992. From 1993-2006, Kroha co-led the Demolition Doll Rods through five albums of primitive glam/roots scorch, touring the U.S. and Europe several times both as headliners and as openers for the likes of The Cramps (on a full U.S. tour) and Iggy Pop (for several West Coast shows). Now, Kroha comes full circle with his latest combo, Danny And The Darleans. They play what Kroha describes as "garage rock," a style of American folk music which is blues-based and is played with electric guitar, electric bass, and drums. He goes on to say "I'm really into the idea of garage rock as folk music. It was the folk music of '60s teenagers. Anybody can do it." What becomes evident after one listen to the band's debut LP on Nero's Neptune, however, is that not just anybody can do it like the Darleans do it. With the explosive rhythm section of sometime-Detroit Cobra Richie Wohlfeil on drums and Colleen Burke on bass and vocals, the band storm through 12 numbers with the raw energy and toughness one would hope for from Detroit's best rock and roll band.
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NN 027LP
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2014 repress on blue colored vinyl. Includes download code. Danny Kroha is a founding member of The Gories, who released two albums and a handful of singles containing influential blues/punk between 1986 and 1992. From 1993-2006, Kroha co-led the Demolition Doll Rods through five albums of primitive glam/roots scorch. Now, Kroha comes full circle with his latest combo, Danny And The Darleans. They play what Kroha describes as "garage rock," a style of American folk music which is blues-based and is played with electric guitar, electric bass, and drums. With the explosive rhythm section of sometime-Detroit Cobra Richie Wohlfeil on drums and Colleen Burke on bass and vocals, the band storm through 12 numbers with the raw energy and toughness one would hope for from Detroit's best rock and roll band. Recently name-checked in Jim Jarmusch's Only Lovers Left Alive!
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NN 025LP
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This vinyl-only album fills a crucial gap in the evolution of legendary folk artist Spider John Koerner. Recorded in between 1965's Spider Blues and 1969's Running, Jumping, Standing Still (with Willie Murphy, both released on Elektra), Koerner is captured here live and unaccompanied at The Ash Grove in Los Angeles, bringing to light an exciting and previously-undocumented period in the career of Spider John. The excellent recording captures Koerner at the absolute peak of his guitar-playing powers. Rounding out this crucial slab of wax are two songs recorded in 1966 in New York City, previously only available on an elusive British single. Accompanied by Al Kooper on guitar, Felix Pappalardi on bass, and Roy Blumenfeld on drums, "Won't You Give Me Some Love" and "Don't Stop" (the latter with Tony Glover on harp) represent Koerner's first, brief excursion into rock and roll terrain. The results sound not entirely dissimilar to Dylan's Highway 61 period material -- not surprising, given Kooper's presence. This release is not only a fascinating addition to the canon of one of this country's national treasures, but is also one of his strongest overall efforts. Strictly limited vinyl edition of 500 copies.
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2LP
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NN 023LP
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2022 restock, last copies. Recorded on April 18, 2010 at Clemente Velez Center, New York City. German free jazz saxophonist and clarinetist Peter Brötzmann: alto and tenor sax, B-flat clarinet, tarogato. American jazz drummer/percussionist, Hamid Drake: drums and percussion.
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NN 008CD
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Sold out. The three vinyl sides of Pere Ubu Live at the Longhorn are as much an indispensable live rock album as Modern Dance is an indispensable studio album. The show consists mainly of material from the Modern Dance album, only rocked out and swinging, more raw-nerved yet seasoned than their studio counterparts. What becomes apparent, especially on repeated listens, is how well-made this music is, how the drama and comedy flows within the modules of each song, how the songs fit together to give an audience an experience that -- while sharpened to paranoia and sensitive to harsh realities -- is as ineffable as it is concrete.
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NN 026CD
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Tombeaux, the much-anticipated new album from Paul Metzger, marks our alchemist's third appearance on Nero's Neptune, following critically-acclaimed contributions to labels like Locust and Honest Jon's. Metzger summons the spirits of musical Appalachian forefathers, guitarist Django Reinhardt and classical sitarist Nikhil Banerjee, among others, weaving a peerless, highly individualistic music that sounds unlike anyone but himself. Metzger's playing doesn't imitate raga structures so much as use those modal figures as a starting point. He employs dazzling, breviloquent string-plucks on the main banjo strings, while producing rhythmic, droning textures on the cross-strings of an added bridge. Some have suggested similarities to the works of John Fahey or Sandy Bull, but Metzger's modus operandi doesn't constitute a mirroring of those styles; rather, he composes and operates apart from their music, in an insular and altogether separate universe. In the process, Metzger transcends and expands the lexicon in a wholly organic manner.
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NN 008LP
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Warehouse find, last copies. ouble LP version. The three vinyl sides of Pere Ubu Live at the Longhorn are as much an indispensable live rock album as Modern Dance is an indispensable studio album. The show consists mainly of material from the Modern Dance album, only rocked out and swinging, more raw-nerved yet seasoned than their studio counterparts. What becomes apparent, especially on repeated listens, is how well-made this music is, how the drama and comedy flows within the modules of each song, how the songs fit together to give an audience an experience that -- while sharpened to paranoia and sensitive to harsh realities -- is as ineffable as it is concrete.
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NN 026LP
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LP version on 180 gram vinyl. Tombeaux, the much-anticipated new album from Paul Metzger, marks our alchemist's third appearance on Nero's Neptune, following critically-acclaimed contributions to labels like Locust and Honest Jon's. Metzger summons the spirits of musical Appalachian forefathers, guitarist Django Reinhardt and classical sitarist Nikhil Banerjee, among others, weaving a peerless, highly individualistic music that sounds unlike anyone but himself. Metzger's playing doesn't imitate raga structures so much as use those modal figures as a starting point. He employs dazzling, breviloquent string-plucks on the main banjo strings, while producing rhythmic, droning textures on the cross-strings of an added bridge. Some have suggested similarities to the works of John Fahey or Sandy Bull, but Metzger's modus operandi doesn't constitute a mirroring of those styles; rather, he composes and operates apart from their music, in an insular and altogether separate universe. In the process, Metzger transcends and expands the lexicon in a wholly organic manner.
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NN 002LP
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Back in print! Nero's Neptune yields to popular demand, and provides a limited LP reissue of the landmark Carbohydrate Hydrocarbons. Michael Yonkers' splattering, maniacal guitar shards and impassioned vocals ride atop The Blind Shake's driving riffs and scalpel-sharp rhythm section to create a 21st century high-water mark for both forces. It's hard to believe that music this tight, cohesive and utterly essential was borne not long after a chance nightclub encounter between an oddball, 60-something musical genius and a much younger, precociously talented rock band but, as they say, truth is sometimes stranger than fiction. Cover art by Zak Sally (Low), RTI pressing, Stoughton jacket. Edition of 500 copies.
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NN 022EP
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"When was the last time you bought a truly KICK-ASS garage-punk 45? Well, here's yr fucking oyster! Hailing from Detroit, Michigan, Danny & The Darleans come leaping outta the gate like hungry leopards bustin' loose from the zoo. Danny Kroha (Gories, Demolition Doll Rods) embraces his garage punk roots, snarling and yelpin' like the bastard son of Iggy and Lou, slingin' a badass axe that'll peel yr goddamn earlobes off. Joined by Richie Wohlfeil on drums and Colleen Burke on bass. Limited edition of 500, don't snooze."
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NN 018LP
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"Near the end of his life, Hasil Adkins met Amy Krueger. They fell in love. Hasil wrote a bunch of songs for Amy, and recorded them at home in West Virginia. He sent them to Amy. Amy promised him that they would get released someday. It took a while after Hasil's death before Amy felt emotionally equipped to deal with the project but here, at last, is the album. This is Hasil at his most soulful and tender, like you have never heard him before. You think you know Hasil Adkins, but you might be wrong. Includes a 24 page full color illustrated book by Amy Krueger. Old school 'tip on' cover."
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NN 010LP
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Warehouse find, last copies. Limited edition of 475 copies. On many hard-core psych collectors' Top 10 lists, this insanely rare and impossible-to-describe 1973 brain-fryer from Minneapolis is utterly soaked with mystic, thoroughly-dosed higher key psychedelia. It is a truly unhinged gem of out-there, acid-dipped geniusness, with quavering vocals, flanged-out guitars & effects, acoustic ramble, and fuzz confusion. Damin Eih wandered off to India to clear his head after leaving behind this lone, legendary offering, never to be heard from again. Painstakingly and spectacularly remastered from two virgin copies of the original vinyl with the full participation of Brother Clark (the others are lost and presumed dead), this treasure is now rescued from the deepest catacombs of psychedelic fatso obscurity for all to hear. 180 gram vinyl, original insert reproduction, and 28 pt. craft stock with old school paste-on sleeves.
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NN 006CD
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A major archival discovery, taped March 24, 1963 for a Milwaukee, Wisconsin radio program, on the eve of the very same day that the seminal Blues, Rags & Hollers LP by Koerner, Ray & Glover was created. Spider John Koerner is the man who first introduced a young Bob Dylan to the 12-string guitar, a bona fide legend who is acknowledged as an influence by artists as diverse as John Lennon, Beck, The Doors & Dylan himself. Nearly 50 years ago, Paul Nelson, writing in the Little Sandy Review and Sing Out respectively, said that "Koerner's art is like Chaplin's, as great and lasting as it is entertaining," while calling him "the most innovatively brilliant acoustic blues musician of his generation." In the year 2010 -- seldom performing and now in his 70s -- the reclusive Koerner is "one of the world's greatest living practitioners of traditional American folk music." It is with enormous pride that Nero's Neptune presents this long-lost piece of American musical history.
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NN 013CD
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Music Is Just A Bunch Of Notes was cut in 1972 in an upstairs storefront building above a coffee house on Minneapolis' West Bank. One of the counterculture's first entirely DIY efforts, it was engineered by 12-string guitar legend Dave "Snaker" Ray and released on his fledgling Sweet Jane label. All of the songs are Koerner originals; the tunes are sequenced with a cinematic eye and interspersed with weird spoken-word bits. The album includes several mainstays of John's repertoire, including the timeless "Everybody's Goin' For The Money," a song that sums up the uniquely Koernerian brand of existentialism as tidily as any. This CD is mastered from the original tapes and is reissued for the first time since the rare 1972 release. The DVD disc features a previously unreleased 16mm movie made by Bruce Rubenstein, David Rubenstein & The Secret Of Sleep. In it, Percival (John Koerner) gets a call in which he's told to go on a mysterious quest. Percy and his buddy (Willie Murphy) wander around in various utopian settings, but in the end, they return to the city to contend with reality. Digitally restored in 2009, released on DVD for the first time, this is a tremendous bit of lost holy grail for Koerner enthusiasts. NTSC region 1 DVD (run time: 60 minutes; audio: mono; black & white; aspect ratio: 4x3 letterbox).
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NN 011LP
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Pictured in all its tantalizing, eye-popping glory in Hans Pokora's 1001 Record Collector Dreams, this hellishly-rare Austrian avant garde LP from 1972 is nothing short of astonishing. There are no instruments, but rather varying configurations of solo, duo and ensemble vocal improvisations, presumably informed by the aforementioned (and nearly impenetrable) code (or "charts"). Although this might be seen as part of an interesting continuum, this unique and prescient music will stun even the most astute followers of outsider art. Describe it, you say? Sweet Jesus! "Shape note singing for acidheads," perhaps? From an avant-classical perspective, one might mention late-'60s Penderecki as a possible reference point (along with Ligeti, or perhaps even Nono). In improvised music, the Spontaneous Music Ensemble's larger workshop groups similarly feature masses of vocal sounds; comparisons with Alan Watts' This Is It are as plausible as they are inevitable. Ultimately, though, nothing will quite prepare you for this LP. In fact, when an original copy landed at Nero's Neptune headquarters, one notorious "outsider" label chief/collector extraordinaire's peni-meter became so perilously engorged, that he nearly burst with envy, casting ridiculous offers of rare wax and unmentionable "favors" Nero's Neptune's way while begging to let him take over. In other words, it is strongly recommended that you purchase this limited reissue while you can, while securing appropriate spiritual condiments for the trip. After all, you CAN be anyone this time around. Strictly limited edition of 500 copies only. Packaged in high-gloss, tip-on sleeves, and pressed on 180 gram vinyl.
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NN 012LP
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...Generator. 2022 restock, last copies. Nero's Neptune presents a split LP of solo works from free-jazz improv master/multi-instrumentalist Milo Fine and guitar experimentalist Paul Metzger. "'Moosbruger' was recorded on the occasion of my first public collaboration with Paul Metzger. Before the concert, and for a number of reasons, my thought was that, when my name was drawn for a solo, I'd be playing drum set. But, as befits the spirit of improvisation (the moment), I grabbed the B flat clarinet, and then, echoing the first time I played piano in public (1971), moved off stage to the prepared piano remains, where the two instruments conjoined. 'Ulrich' is a self-contained section of a set-long (drum) solo I played at the Art of This Gallery's Tuesday Night Improvised Music Series. 'Moosbruger' was recorded on March 21, 2009. 'Ulrich' was recorded on January 20, 2009." --Milo Fine
"I created the Spontaneous Composition Generator to produce a random series of musical actions. It is a device consisting of 37 altered music box movements mounted in a wooden painter's box. The alterations include dampening, detuning, replacing, removing, doubling, and reversing the tines. Most of the original melody pins on the cylinders were removed. Rubber bands of various lengths and thicknesses were attached to the winding stems to facilitate a continuously variable tension. One dozen hand-wired piezo pickups are attached to output a stereo signal. The piece on this recording was created November 9, 2009 with a time of 18:43. It was specifically made as a complement to Milo's contributions to this Nero's Neptune LP. --Paul Metzger
Strictly limited edition of 421 vinyl copies only. Screen-printed onto wax paper sleeves, with an insert. Pressed on 180 gram vinyl.
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NN 006LP
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2022 restock. A major archival discovery, taped March 24, 1963 for a Milwaukee, Wisconsin radio program, on the eve of the very same day that the seminal Blues, Rags & Hollers LP by Koerner, Ray & Glover was created. Spider John Koerner is the man who first introduced a young Bob Dylan to the 12-string guitar, a bona fide legend who is acknowledged as an influence by artists as diverse as John Lennon, Beck, The Doors & Dylan himself. Nearly 50 years ago, Paul Nelson, writing in the Little Sandy Review and Sing Out respectively, said that "Koerner's art is like Chaplin's, as great and lasting as it is entertaining," while calling him "the most innovatively brilliant acoustic blues musician of his generation." In the year 2010 -- seldom performing and now in his 70s -- the reclusive Koerner is "one of the world's greatest living practitioners of traditional American folk music." It is with enormous pride that Nero's Neptune presents this long-lost piece of American musical history. Tip-on sleeves, pressed on 180 gram vinyl.
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Zak Sally is a Twin Cities-based musician, publisher and comic artist. After 12 years with minimalist rock band Low, Zak left. Planting roots in Minneapolis, Zak began focusing on cartooning, and also established a small-press publishing concern, La Mano 21. Although Zak initially planned to abandon recording, he remained "absolutely terrified by music." Eventually, and with the help of his friend Ben Durrant (Andrew Bird, Dosh), he polished off a Sub Pop 45 ("Why We Hide" b/w "When I Said I Missed You I Just Meant My Aim Was Off"). Now, Nero's Neptune releases this delightful, full-length LP. All sounds you hear on the record are courtesy of Mr. Sally. In fact, Zak was involved in EVERY aspect of creating this LP, not only performing all the music contained within, but also designing the cover, laying it out for printing, making the plates, printing the damn thing on his OWN PRESS, trimming, folding, and finally inserting and sleeving the records! The LP is called Fear Of Song, and, in Zak's words "it's the sound of one man clanging." Limited numbered edition of 340 vinyl copies only.
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NN 010CD
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On many hardcore psych collectors' Top 10 lists (including one via Patrick Lundborg's Acid Archives book), this insanely rare and impossible-to-describe 1973 brain-fryer from Minneapolis is utterly soaked with mystic, thoroughly-dosed higher key psychedelia -- think Zerfas meets Bobb Trimble, but you're still nowhere near the lysergic laboratory. Damin Eih rambled off to India to clear his head after leaving behind this lone, legendary offering, never to be heard from again. Painstakingly and spectacularly re-mastered from two virgin copies of the original vinyl (the master tapes have long since disappeared), this treasure is now rescued from the deepest catacombs of psychedelic fatso obscurity for all to hear.
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NN 007LP
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When the Original Harmony Ridge Creek Dippers' self-distributed inaugural CD first appeared in 1997, fans of Jayhawks-founder Mark Olson had to work pretty hard to find it. Now, Nero's Neptune Records presents this overlooked masterpiece on vinyl for the first time. Pressed at RTI on 180 gram virgin vinyl (with deluxe packaging that includes a free CD), a new era of discerning music-lovers can now discover what a devout few have known all along: Mark Olson is one of this country's very finest songwriters, and this LP is as fine a representation of his poetic vision as has ever been bestowed upon the world. Olson, together with multi-instrumentalists Mike "Razz" Russell and Victoria Williams, offers 10 tunes that revolve around his gently strummed acoustic guitar. Lovingly woven background vocals (courtesy of Ms. Williams) and tasteful, sparse use of piano, mandolin, fiddle and banjo flesh out Olson's heartbreakingly sincere and affecting songs. Pure and simple, this is a desert island-level classic. As No Depression magazine gushed, "it's the kind of music that's impossible to strive for, to fashion from careful study or conscious effort; the only way it happens like this is when it flows straight out from the soul."
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NN 004B-LP
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At Wizard Island Too Punk To Fuck/Cuz It's A Beach Funeral. Nero's Neptune has bestowed the last copies of this ultra-limited, swankly-packaged, tour-only LP upon Forced Exposure to coincide with Vampire Hands' Spring 2009 23-date tour with Wavves. Minneapolis' Vampire Hands are a rather difficult-to-pigeonhole lot, one with so many disparately abundant ideas bubbling out of their collective skulls that they barely keep pace with them. Citing influences as diverse as Exuma, Can, Neil Young and Simply Saucer, Vampire Hand's sound might (lazily) be described as Marc Bolan meets Mayo Thompson in Neil Haggerty's cannabistro. Fuzzy, distorted guitars meet tribal, pulsating rhythms. An eerily affecting falsetto melds with a lower, drier voice to create delightfully off-kilter harmonies. Get this NOW before this band assuredly ascends the hype-ladder.
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