Founded in 1998 by Markus Detmer in Cologne, and now located in Berlin, Staubgold presents an eclectic range of unusual and free-form music of all kinds, from Faust's timeless Krautrock excursions via To Rococo Rot's post-techno electronica to the broken avantgarde of Ekkehard Ehlers and the clicks and cuts of Vladislav Delay. Staubgold's amazing back catalog contains more than 50 releases, most of them full-length and available both on CD and vinyl, including legendary avant garde musicians Keith Rowe, Oren Ambarchi, Rafael Toral and Joseph Suchy as well as three stunning collaborations with the Austrian Ars Electronica Klangpark featuring contributions by Alexander Balanescu, To Rococo Rot, Vladislav Delay, Rupert Huber and many more. Other artists include Kammerflimmer Kollektief, Organ Eye, Thilges, Alejandro Franov, Sun and others.
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STAUB 146LP
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Staubgold present a reissue of Atarpop 73 & Le Collectif Le Temps Des Cerises's Attention L'Armee, originally released in 1975. 10 December 1974. 200 conscripts exited the casern of Draguignan in order to demonstrate in the streets of the city. They made part of those clandestine soldier committees multiplying themselves all over France with a view to unite the young activists of the extreme left with the anti-militarists. This dispute was a backwash of the student manifestations in spring 1973 against the Debré law reforming the military service. The Collectif du Temps des Cerises founded by François Tusques, one of the pioneers of the French free jazz, supported the insubordinates. Denis Levaillant, 22 years old at the time, became the driving force of this discographical project. It's with another big name in jazz, Jef Gilson in his studio Palm, that the group recorded the compositions of Levaillant, appearing under the pseudonym Serge Igor, as well as cover versions of traditional Spanish music, among others the mythic "El Paso Del Ebro". The young French jazz avant garde scene of the early '70s participates in that session which brought together musicians like Jean-Jacques Avenel, Pierre Rigaud, Jean Méreu, Antoine Cuvelier, Gérard Tamestit, Guy Oulchen, Christian Ville, Robert Lucien, Carlos Andréou, and Kirjuhel. The graphic designer collective Atarpop 73 created the sleeve of the album which was released in an edition of 3000 copies and sold during the student manifestations. This radical report of a rebellious youth raising from the still glowing ashes of May 1968 offers a jazz as spiritual as revolutionary. Comes in high-quality full-color gatefold sleeve with insert; Edition of 500.
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STAUB 147CD
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Rafael Toral presents Space Solo 2 on Staubgold: "Space Solo 2 is the final release in the Space Program series, which started with Space (STAUB 069CD/TAIGA 001LP, 2006). Ten releases were originally projected, but the ideas I wanted to explore in a sustained and systematic way have already been fulfilled in these six records. For that, and a number of other reasons, I decided that I will be able to move with more room and freedom outside this structure that is now completed. The Solo series is meant to be reference documentation to my solo performance at the time of their release, on various instruments. Space Solo 2 showcases a different set of instruments from Space Solo 1 (QUECK 011CD/TAIGA 002LP, 2007), namely the glove-controlled sinewaves from the first years, a rarely performed modular synthesizer solo, the Theremin-controlled modulated feedback, and a contemporary approach to the electrode oscillator (featured on Space Solo 1 on a simpler configuration). All tracks are edited recordings of real-time solo performance. As a rule in the Space Program, there is no processing or transformation of sounds, all sounds are heard as originally played (except for mastering sound calibration). There is no 'programming' (as in sequencers or digital devices), no samples or software involved (except editing and mastering software and except tracks 9, 10, 11)."
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STAUB 145LP
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For more than 20 years, Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero, Ondatropica), and Pedro Ojeda (Romperayo, Sidestepper) have been exposed to Latin American tropical types of music that, for many years (and still recently), have been relegated to the last place of good taste. Vallenato, Peruvian chicha, Colombian raspa, champeta, some African sounds and cumbia, in its different genres (sabanera, rabajada, sonidera), make part of the new style that Los Pirañas expose in the agitated Colombian music scene. Their debut album Toma Tu Jabón Kapax (VAMPI 148CD/LP, 2013) is deliberately strident and still - you can easily dance to it. In 2013, they released the 7" single Salvemos Nuestro Folclor and a video, directed by artists Mateo Rivano and Santiago Mora. Their second LP, La Diversión Que Hacía Falta En Mi País, was recorded in June 2014, in collaboration with Quantic (Will Hollland), recorded on analog tape and mixed live.
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STAUB 143CD
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With just their second album, Telebossa have successfully created their own musical language, an achievement that often takes others a lifetime of work. While their 2011 debut album (STAUBDIG 011CD/STAUBANA 005LP) saw Berliners Chico Mello and Nicholas Bussmann exploring the bossa tradition through role models such as Antônio Carlos Jobim, Caetano Veloso, and João Gilberto, their mixture of Brazilian-style elements and new music has now become a model in its own right. This time the duo is supported by one of the greats, Van Dyke Parks, best known for his collaborations with Brian Wilson (with later collaborators ranging from Joanna Newsom to Skrillex). "Discover America," Parks's mission statement from the 1960s (and the title of one of his rare solo albums), is now emblazoned on Telebossa's flag, in a testament to bossa nova's detour through the USA, which led to its inclusion in the canon of music history. Cello and guitar have disappeared from the Telebossa sound, replaced by vocals and player piano. And throughout, it is Chico Mello's delicate, fragile voice -- in the best bossa nova tradition -- which maintains the connection to the musical homeland of Brazil. However, the main theme of the album is also the classic conflict and cooperation between man and machine, represented by a juxtaposition of the almost inhuman perfection of the woodwind ensemble Aventure and Winfried Ritsch's pleasantly warm piano robot, Der Automat, programmed with unprecedented delicacy by Bussmann. And in the middle of it, the Chico Mello's vocie alongside Bussmann's cool, technoid electronics. The texts of "metaphysical engineer" Fernando Pessoa, who described the entanglements of technology, metaphysics, and corporeality at the beginning of the 20th century, perfectly complement the physical-mechanical musical interplay. Bussmann and Mello have landed a major coup at only their second attempt -- way beyond hype, ingratiation, and eclecticism for the sake of eclecticism. In short: Telebossa have arrived.
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STAUB 143LP
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LP version. With just their second album, Telebossa have successfully created their own musical language, an achievement that often takes others a lifetime of work. While their 2011 debut album (STAUBDIG 011CD/STAUBANA 005LP) saw Berliners Chico Mello and Nicholas Bussmann exploring the bossa tradition through role models such as Antônio Carlos Jobim, Caetano Veloso, and João Gilberto, their mixture of Brazilian-style elements and new music has now become a model in its own right. This time the duo is supported by one of the greats, Van Dyke Parks, best known for his collaborations with Brian Wilson (with later collaborators ranging from Joanna Newsom to Skrillex). "Discover America," Parks's mission statement from the 1960s (and the title of one of his rare solo albums), is now emblazoned on Telebossa's flag, in a testament to bossa nova's detour through the USA, which led to its inclusion in the canon of music history. Cello and guitar have disappeared from the Telebossa sound, replaced by vocals and player piano. And throughout, it is Chico Mello's delicate, fragile voice -- in the best bossa nova tradition -- which maintains the connection to the musical homeland of Brazil. However, the main theme of the album is also the classic conflict and cooperation between man and machine, represented by a juxtaposition of the almost inhuman perfection of the woodwind ensemble Aventure and Winfried Ritsch's pleasantly warm piano robot, Der Automat, programmed with unprecedented delicacy by Bussmann. And in the middle of it, the Chico Mello's vocie alongside Bussmann's cool, technoid electronics. The texts of "metaphysical engineer" Fernando Pessoa, who described the entanglements of technology, metaphysics, and corporeality at the beginning of the 20th century, perfectly complement the physical-mechanical musical interplay. Bussmann and Mello have landed a major coup at only their second attempt -- way beyond hype, ingratiation, and eclecticism for the sake of eclecticism. In short: Telebossa have arrived.
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STAUB 141CD
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There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.
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STAUB 141LP
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2017 repress; LP version. There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.
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STAUB 144LP
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Telebossa's Nicholas Bussmann is, once again, after 2012's Like You (MINIMAL 013CD/LP), transforming into Nicholas Desamory to release You only need to know how it feels to believe -- a house album of such warmth and rough elegance, it will leave the scene all excited. House has always been an open genre, sampling, adapting, and incorporating other styles. On You only need to know how it feels to believe, it's the reduced string and vocal arrangements that lead to this album's specific sound -- the warmth -- and evoke at the same time the great Norman Whitfield and the legendary Arthur Russell. This is how house music has to be in 2016! Nicholas Bussmann's career has brought manifold works into being, including collaborations with Chico Mello as Telebossa, an acclaimed mélange of Brazilian songwriting, precise electronics, and minimal music, and with Werner Dafeldecker as Rydberg (MONO 092CD, 2015). In addition, together with drummer Martin Brandlmayr (Radian) as Kapital Band 1, Nicholas Bussmann has released two complementary electro-acoustic albums: 2 CD (2003) and Playing by Numbers (2007). In 2010, he staged a concept for a modernized opera with Barnes Dance. Nicholas Bussmann is a conceptual musician and composer. Originally a cellist, he has since expanded his practice to a wide range of musical genres, from electronic to conceptual art. He sometimes works as a composer for film. As curator he has worked at Berlin Documentary Forum, MaerzMusik, the Shanghai Biennale, and the HKW Berlin. He is organizer of the annual Grand Prix d'Amour songwriting contest.
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STAUB 140LP
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LP version. The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
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STAUB 142CD
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This meeting was planned by the devil, because he wanted to do some good for a change: the avant-jazz-electronica-rock 'n' roll project Kammerflimmer Kollektief from Karlsruhe has been assembling a wide range of sounds, live and on record, ranging through unforeseeable noise, soft sighs of love, and exploding hearts of iron since 1996. Now they are making music with writer, journalist, and former Spex editor-in-chief Dietmar Dath. The musicians and the author chose their shared name in honor of the lesbian author and journalist Annemarie Schwarzenbach. Nicht Sterben. Aufpassen. contains nine songs; some intimate, some infatuated, some grim, and some relaxed, between spoken word, singing voices, and music blossoming as if by itself in every imaginable color. Literature does not want to be nowhere and never, but always and everyone. And music does not want to be nowhere and never, but here and now. Music is the absolute art of time. The encounter between these two ways of working, the always and everywhere of text and the here and now of music, can cause the kind of convulsive beauty that other people perhaps get from nowhere and never fantasies.
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STAUB 140CD
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The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
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STAUB 138CD
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First reissue of While the Recording Engineer Sleeps, the first album by The Cocoon, recorded in 1985 and originally released in 1989. The Cocoon was a kind of psychedelic supergroup featuring legendary figures of the German music scene of the 1960s, '70s, and '80s: Gunter Hampel (vibraphone, piano, flute, bass clarinet, lead vocals), Jürgen Gleue (lead vocals, bass, guitar), Matthias Arfmann (guitar, bass organ, electric piano, lead vocals), Rüdiger Klose (drums, vocals), and Thomas Keyserling (flute, alto saxophone). Most songs were written by Hampel and Gleue with Gleue providing the lyrics. The legendary jazz composer, bandleader, vibraphonist, bass clarinetist, flutist, and baritone saxophonist Gunter Hampel is one of the most influential musicians, composers, and pioneers of the worldwide jazz evolution. He is the major instigator of the European jazz movement since 1958. On his own Birth Records label he has recorded more than 200 albums, most of them together with his Galaxie Dream Band. Jürgen Gleue was a founding member of the infamous neo-psychedelic band 39 Clocks, with whom he released four albums between 1981 and 1987. Under the moniker Phantom Payn, he later recorded another six albums of acid-driven psychedelia, and, together with Rüdiger Klose, he also played in the psychedelic rock band Exit Out. Klose also contributed to 39 Clocks, Phantom Payn, and avant-garde group Die Kastrierten Philosophen. First known as a founding member of Die Kastrierten Philosophen, Matthias Arfmann later became famous as the producer of German hip-hop/reggae star Jan Delay. And Thomas Keyserling, also a member of Hampel's Galaxie Dream Band, played with Agitation Free and was a guest musician on two legendary 1970 German krautrock albums: Tangerine Dream's Electronic Meditation and Amon Düül II's Yeti.
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STAUB 138LP
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LP version. First reissue of While the Recording Engineer Sleeps, the first album by The Cocoon, recorded in 1985 and originally released in 1989. The Cocoon was a kind of psychedelic supergroup featuring legendary figures of the German music scene of the 1960s, '70s, and '80s: Gunter Hampel (vibraphone, piano, flute, bass clarinet, lead vocals), Jürgen Gleue (lead vocals, bass, guitar), Matthias Arfmann (guitar, bass organ, electric piano, lead vocals), Rüdiger Klose (drums, vocals), and Thomas Keyserling (flute, alto saxophone). Most songs were written by Hampel and Gleue with Gleue providing the lyrics. The legendary jazz composer, bandleader, vibraphonist, bass clarinetist, flutist, and baritone saxophonist Gunter Hampel is one of the most influential musicians, composers, and pioneers of the worldwide jazz evolution. He is the major instigator of the European jazz movement since 1958. On his own Birth Records label he has recorded more than 200 albums, most of them together with his Galaxie Dream Band. Jürgen Gleue was a founding member of the infamous neo-psychedelic band 39 Clocks, with whom he released four albums between 1981 and 1987. Under the moniker Phantom Payn, he later recorded another six albums of acid-driven psychedelia, and, together with Rüdiger Klose, he also played in the psychedelic rock band Exit Out. Klose also contributed to 39 Clocks, Phantom Payn, and avant-garde group Die Kastrierten Philosophen. First known as a founding member of Die Kastrierten Philosophen, Matthias Arfmann later became famous as the producer of German hip-hop/reggae star Jan Delay. And Thomas Keyserling, also a member of Hampel's Galaxie Dream Band, played with Agitation Free and was a guest musician on two legendary 1970 German krautrock albums: Tangerine Dream's Electronic Meditation and Amon Düül II's Yeti.
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STAUB 139LP
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LP version. Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit and percussion wizard Holger Mertin (Drums and More). Liebezeit, born May 26, 1938, in Dresden, Germany, and best known as a founding member of Can, has been called "one of the few drummers to convincingly meld the funky and the cerebral." In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is renowned for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine." Mertin, born in 1977, is a multipercussionist and specialist in rhythmic traditions. He is involved in diverse transdisciplinary projects. Mertin's playing is characterized by his spontaneous, melodious, and rhythmic style that is equally reflected in his individual instrumentarium. Mertin has collaborated with internationally renowned musicians and artists including Milan Sladek, Eberhard Kranemann (Kraftwerk), Martin Sasse (Sting, Martin Sasse Trio), Hayden Chisholm, Paul Shigihara (WDR Big Band Köln), Roland Peil (Die Fantastischen Vier), and Ali Haurand (European Jazz Ensemble). Like a zen master of the minimal, repetitive beat, Liebezeit -- famous for his hypnotic precision -- creates with only few sound colors the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse -- the groove of a better world. On the basis of that musical matrix, sound magician Joseph Suchy has produced a jaw-dropping album that defies any categorization. Even if other instruments like violin, guitar, brass, and electronics sometimes seem to take the lead, the compelling pulse is always in the center of this swinging music. Liebezeit, Mertin, and Suchy have created a timeless masterpiece that, despite its complexity, always stays melodic and danceable. That's how modernity sounds (and swings)! Jaki Liebezeit plays: world drum kit, hand cymbals, dholak, tambourine, bongos, and one-string percussion instrument. Holger Mertin plays: hang, hand cymbals, gongs, Modulationsscheiben, cymbals, tube sticks, frame drum, snare drums, melodic and metal percussion, helix bowl, tambourine, spoons, singing bowls, kalimba, marimbula, waterphone, K.G. sound sculpture, and overtone drum.
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STAUB 139CD
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Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit and percussion wizard Holger Mertin (Drums and More). Liebezeit, born May 26, 1938, in Dresden, Germany, and best known as a founding member of Can, has been called "one of the few drummers to convincingly meld the funky and the cerebral." In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is renowned for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half man, half machine." Mertin, born in 1977, is a multipercussionist and specialist in rhythmic traditions. He is involved in diverse transdisciplinary projects. Mertin's playing is characterized by his spontaneous, melodious, and rhythmic style that is equally reflected in his individual instrumentarium. Mertin has collaborated with internationally renowned musicians and artists including Milan Sladek, Eberhard Kranemann (Kraftwerk), Martin Sasse (Sting, Martin Sasse Trio), Hayden Chisholm, Paul Shigihara (WDR Big Band Köln), Roland Peil (Die Fantastischen Vier), and Ali Haurand (European Jazz Ensemble). Like a zen master of the minimal, repetitive beat, Liebezeit -- famous for his hypnotic precision -- creates with only few sound colors the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse -- the groove of a better world. On the basis of that musical matrix, sound magician Joseph Suchy has produced a jaw-dropping album that defies any categorization. Even if other instruments like violin, guitar, brass, and electronics sometimes seem to take the lead, the compelling pulse is always in the center of this swinging music. Liebezeit, Mertin, and Suchy have created a timeless masterpiece that, despite its complexity, always stays melodic and danceable. That's how modernity sounds (and swings)! Jaki Liebezeit plays: world drum kit, hand cymbals, dholak, tambourine, bongos, and one-string percussion instrument. Holger Mertin plays: hang, hand cymbals, gongs, Modulationsscheiben, cymbals, tube sticks, frame drum, snare drums, melodic and metal percussion, helix bowl, tambourine, spoons, singing bowls, kalimba, marimbula, waterphone, K.G. sound sculpture, and overtone drum. CD includes two bonus tracks: "Overtone" and "Surfangel."
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STAUB 137LP
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LP version. Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."
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STAUB 136LP
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LP version. Staubgold presents Désarroi, the tenth album by German ensemble Kammerflimmer Kollektief. Since Thomas Weber founded the group in 1996, its work has meandered between precision and freedom, delivering music that would scorch the paper if one tried to score it. Kammerflimmer Kollektief's art is deception -- a persuasive and seductive art of disorientation and misdirection, with a lucidity and precision approaching what Robert Musil (above suspicion of being a romanticist) called "daylight mysticism." Désarroi (Disorientation), perhaps the group's wildest work, does it again: welcome back to the Kammerflimmery! The Kollektief delivers a few characteristic elements right from the opening track, with Heike Aumüller's free, unsentimental harmonium, played with an air of sehnsucht (inadequately translated as "longing"), resembling a free jazz counterpart to reggae producer and melodica master Augustus Pablo, while Johannes Frisch's magic, free-wheeling double bass creaks along. The album explodes with a dash of Swedish biker-rock passion that momentarily dispels the trappings of modernity, though concrete reality seems to return by the album's end. The Kollektief has long been developing an amalgam of FX culture, psychedelia, free form, dub, improv, and ritual activities, taking only what is of use, with the collected elements taking on a mythical weight. What was once a bass becomes a creak. What was once a voice becomes a phoneme. What was once a guitar becomes a gnarly notion of something strummed. All the while, Weber masks his guitar's effects, leaving them as unidentifiable yet familiar sounds to be incorporated into the singular tone continuum of Kammerflimmery. Like the shaman who in the morning simply hangs up his magic roots to dry in preparation for his nightly ecstatic routines, the Kollektief incorporates the ordinary and familiar into its rituals. Maybe that's why they cover "Zurück zum Beton" ("Back to Concrete"), the 1978 hit by West German punk legends S.Y.P.H. They interpret the track not as a grim punk anthem but as an erotic celebration of a life in order, of alltag and künstlichkeit -- familiarity and artificiality. Over there, pure nature. Over here, humankind. In between, the magical pragmatism of Kammerflimmer Kollektief. On Désarroi, in a fashion perhaps even more pronounced than on previous works, the Kollektief works with a delicate, tender sensibility, highlighted by Aumüller's voice, which has never been heard like this on record before. The lyrics and music want to be heard, explored, even suffered. Tenderness maximized to a radical degree.
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STAUB 136CD
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Staubgold presents Désarroi, the tenth album by German ensemble Kammerflimmer Kollektief. Since Thomas Weber founded the group in 1996, its work has meandered between precision and freedom, delivering music that would scorch the paper if one tried to score it. Kammerflimmer Kollektief's art is deception -- a persuasive and seductive art of disorientation and misdirection, with a lucidity and precision approaching what Robert Musil (above suspicion of being a romanticist) called "daylight mysticism." Désarroi (Disorientation), perhaps the group's wildest work, does it again: welcome back to the Kammerflimmery! The Kollektief delivers a few characteristic elements right from the opening track, with Heike Aumüller's free, unsentimental harmonium, played with an air of sehnsucht (inadequately translated as "longing"), resembling a free jazz counterpart to reggae producer and melodica master Augustus Pablo, while Johannes Frisch's magic, free-wheeling double bass creaks along. The album explodes with a dash of Swedish biker-rock passion that momentarily dispels the trappings of modernity, though concrete reality seems to return by the album's end. The Kollektief has long been developing an amalgam of FX culture, psychedelia, free form, dub, improv, and ritual activities, taking only what is of use, with the collected elements taking on a mythical weight. What was once a bass becomes a creak. What was once a voice becomes a phoneme. What was once a guitar becomes a gnarly notion of something strummed. All the while, Weber masks his guitar's effects, leaving them as unidentifiable yet familiar sounds to be incorporated into the singular tone continuum of Kammerflimmery. Like the shaman who in the morning simply hangs up his magic roots to dry in preparation for his nightly ecstatic routines, the Kollektief incorporates the ordinary and familiar into its rituals. Maybe that's why they cover "Zurück zum Beton" ("Back to Concrete"), the 1978 hit by West German punk legends S.Y.P.H. They interpret the track not as a grim punk anthem but as an erotic celebration of a life in order, of alltag and künstlichkeit -- familiarity and artificiality. Over there, pure nature. Over here, humankind. In between, the magical pragmatism of Kammerflimmer Kollektief. On Désarroi, in a fashion perhaps even more pronounced than on previous works, the Kollektief works with a delicate, tender sensibility, highlighted by Aumüller's voice, which has never been heard like this on record before. The lyrics and music want to be heard, explored, even suffered. Tenderness maximized to a radical degree.
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STAUB 137CD
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Dennis Young is best-known as the marimba player/percussionist for the legendary early '80s NYC band Liquid Liquid. Reel to Real is a lovingly-assembled archive collection of his rare and unreleased solo recordings from 1982-1983. Dennis Young: "Back in 1982 at the age of 24 I bought my first recording equipment a -- two-track Teac reel-to-reel-tape recorder. I already owned a number of analog synthesizers, an electric & acoustic guitar, various effect boxes, and a full drum set. The music was recorded live over a two year period (1982-1983) when I was still playing in Liquid Liquid. I was busy with the band but I still found time at home to experiment with my own sound using various instruments and vocal effects. In early 1984, I bought my first four-track cassette machine which ended my live reel-to-reel recording phase. The tapes were boxed up and put into storage for the next 30 years. About six months ago, I was going through some old boxes and happened to find the tapes again. I was curious to hear what I had on those tapes so I purchased another Teac reel-to-reel-tape recorder. To my surprise there was a lot of music to choose from these recordings, so after hours of listening I came up with a set of songs that I thought was the best representation of my work from this period. Thanks to Staubgold, I am able to share this unique recording experience with you, the listener."
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STAUB 133LP
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LP version. For 18 years now, the electronic duo Klangwart have self-confidently occupied their very own niche between avant-garde and pop. Markus Detmer and Timo Reuber, the two "elder statesmen" of neo-Krautrock, have since become regarded as the most authentic heirs to the psychedelic sound gurus of the '70s. Titled Transit, their new album after Sommer (STAUB 099CD) is a real masterpiece: nine tracks of otherworldly beauty -- energetic, organic, unpredictable. Thousands of sound-snippets are assembled into a kind of vegetative music. Pulsing beats interact with weightless, floating sounds. Everything is in a constant flow -- sometimes in slow-motion, other times at a tearing pace. Transit stays at any time highly concentrated and dense. The longest track clocks in at only five minutes -- unusual for Klangwart. The production by sound guru Joseph Suchy appears almost three-dimensional, whereupon space is an equal element of composition. That's cosmic music for the 21st century.
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STAUB 133CD
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For 18 years now, the electronic duo Klangwart have self-confidently occupied their very own niche between avant-garde and pop. Markus Detmer and Timo Reuber, the two "elder statesmen" of neo-Krautrock, have since become regarded as the most authentic heirs to the psychedelic sound gurus of the '70s. Titled Transit, their new album after Sommer (STAUB 099CD) is a real masterpiece: nine tracks of otherworldly beauty -- energetic, organic, unpredictable. Thousands of sound-snippets are assembled into a kind of vegetative music. Pulsing beats interact with weightless, floating sounds. Everything is in a constant flow -- sometimes in slow-motion, other times at a tearing pace. Transit stays at any time highly concentrated and dense. The longest track clocks in at only five minutes -- unusual for Klangwart. The production by sound guru Joseph Suchy appears almost three-dimensional, whereupon space is an equal element of composition. That's cosmic music for the 21st century.
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STAUB 134LP
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LP version. The first-ever release of mythic Colombian groups Ensamble Polifonico Vallenato and Sexteto La Constelacion De Colombia. A full-length album of exclusive archive recordings featuring members of the Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas. Bland rock and pop music took over Colombia in the 1980s. For a country with so much musical heritage, this was blasphemy. Ensamble Polifonico Vallenato and Sexteto La Constelacion de Colombia were two groups who, in the late 90s, fought to redress the balance. Ensamble Polifonico Vallenato started as a joke, a parody of the bad vallenato music a bunch of university students would hear on the bus into campus. Their idea was simple: "to play whatever and see what happens." The resultant music was as heavy as rock, as acidic as punk and as far-out as the most left-field free-jazz. At the heart of it all was fiery accordion and acerbic vocals, often playing in call-and-response, just like the classic vallenatos of yore. The lyrics formed a big part of the group's identity; they were deep, sarcastic and surrealistic, and revelled in toying with Colombian clichés. The music soon stopped being a parody. The students began to learn more and more about Colombian folklore and their sound evolved. Soon, they ditched the accordion, replacing it with flutes from Colombia's Caribbean coast, and renamed the group Sexteto La Constelacion de Colombia. The musicians were now more mature, though no less experimental. Both groups were rebellious, counter-cultural and added to their reputations with anarchic live shows. At the time, the reaction was mixed. To quote the group, they were "approved by a few but disapproved by a lot." For many musicians who saw them play during their short lifespans, they offered an alternative, a new form of Colombian music that was rooted in their country's heritage but could be as innovative and experimental as any jazz or rock. A seed was sown that started a new branch of Colombian tropical music. The band members now play in groups like Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas -- bands that have released albums and toured internationally, as well as won critical and public approval while maintaining the revolutionary spirit that will ensure that the evolution of Colombian music is not ready to stop yet.
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STAUB 134CD
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The first-ever release of mythic Colombian groups Ensamble Polifonico Vallenato and Sexteto La Constelacion De Colombia. A full-length album of exclusive archive recordings featuring members of the Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas. Bland rock and pop music took over Colombia in the 1980s. For a country with so much musical heritage, this was blasphemy. Ensamble Polifonico Vallenato and Sexteto La Constelacion de Colombia were two groups who, in the late 90s, fought to redress the balance. Ensamble Polifonico Vallenato started as a joke, a parody of the bad vallenato music a bunch of university students would hear on the bus into campus. Their idea was simple: "to play whatever and see what happens." The resultant music was as heavy as rock, as acidic as punk and as far-out as the most left-field free-jazz. At the heart of it all was fiery accordion and acerbic vocals, often playing in call-and-response, just like the classic vallenatos of yore. The lyrics formed a big part of the group's identity; they were deep, sarcastic and surrealistic, and revelled in toying with Colombian clichés. The music soon stopped being a parody. The students began to learn more and more about Colombian folklore and their sound evolved. Soon, they ditched the accordion, replacing it with flutes from Colombia's Caribbean coast, and renamed the group Sexteto La Constelacion de Colombia. The musicians were now more mature, though no less experimental. Both groups were rebellious, counter-cultural and added to their reputations with anarchic live shows. At the time, the reaction was mixed. To quote the group, they were "approved by a few but disapproved by a lot." For many musicians who saw them play during their short lifespans, they offered an alternative, a new form of Colombian music that was rooted in their country's heritage but could be as innovative and experimental as any jazz or rock. A seed was sown that started a new branch of Colombian tropical music. The band members now play in groups like Meridian Brothers, Frente Cumbiero, Ondatropica, Romperayo and Los Piranas -- bands that have released albums and toured internationally, as well as won critical and public approval while maintaining the revolutionary spirit that will ensure that the evolution of Colombian music is not ready to stop yet.
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STAUB 135LP
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A limited vinyl-only collection of 11 love songs by Family Fodder that have never before been released on vinyl. Alig Fodder says: "We collected all the love songs together without all the annoying instrumentals, dubs and solos. Lou Reed once sang: 'No kinds of love are better than others.' I think he meant something else. The 'kinds of love' here include: the love for a child, nostalgic love and imaginary journeys, love renewed and shared, love of animals, love of music, nostalgia, love in loss and memory, love in kinship across generations, poetic and physical loving, love of the unknown or unfamiliar and the desperate love of needing." Different versions of these songs are available on the albums Classical Music (2010) and Variety (2013) as CDs or digital downloads from the state51 Conspiracy label. Meanwhile, the band (alive and well -- but smelling funny after all these years) prepare for their second European tour, and are writing new material for the next album -- working title: Rough Mix.
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STAUB 129LP
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Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."
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