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 162LP
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The debut album by Perpignan's finest, featuring Pascal Comelade on piano. The Llamps' members met each other in the surroundings of Perpignan a few years ago. Moved by The Velvet Underground, Ennio Morricone, Noir Desir, and L'Agram, the four of them created an alliance between heritage and modernity, pop and hip-hop, country and psychedelics, all of it in Catalan, French and English. Their mysterious universe acquires its full dimension live, where salvage poetry and the band's energy mingle and brew. After their first two 7"s, The Llamps present their self-titled debut. Throughout its 12 tracks, the eponymous album is unrepentant in combining the different musical cultures of this atypical group. It is a resolutely modern version of '60s garage rock: simultaneously psychedelic and acidic, it introduces the listener to a sombre and poetic universe of fuzz guitars, tortured keyboards, bursting trumpets and tattered pianos, while a beguiling female voice sings in English, French or Catalan. The Llamps, a fruit of the communal imagination of the four members of the group and their environment of musician and artist friends -- of which Pascal Comelade is the common thread -- resounds as a testimony of our times: equally fragile and full of splendor.
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STAUB 161LP
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First ever reissue of Alternative TV's Action Time Vision, compiled in 1980 and featuring the group's 7-inches from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue. What Mark Perry says: "It wouldn't be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no-nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself. My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77. That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums. I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes..." White vinyl; edition of 500.
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7"
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STAUB 163EP
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Chantage are Eve Blouin and Vivien Goldman. This exclusive reissue features the artwork from the original 7", the extended version of "It's Only Money" from the Chantage 12" and the dub version by Adrian Sherwood which previously was only released on On-U Sound under the project name Playgroup in 1983. Edition of 500.
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STAUB 158LP
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It was the beginning of 2019 at the WattHaus studios in Perpignan when The In-Fuzzed rose from the incandescent ashes of Hair & The Iotas. They still played garage rock, but with even more fuzz and energy. The arrival of an ex-member of El Vicio and Destination Lonely certainly shook things up a bit. After several concerts in the South of France and two singles, The In-Fuzzed now release their first, eponymous album in collaboration with Staubgold. 13 original titles, linked together seamlessly, have the listener in a state of constant alert, on the lookout for any blast and under the impression that anything may burst from the depths of this devilish rock n' roll among roaring fuzz-pedals and explosive drums. Two guitars (sometimes three: Nico Delseny, ex-member of the Beach Bitches and Sonic Chicken 4, lends a strong hand on some tracks) and an infernal rhythmic section (Michel Morales and Franck Menguin, both veterans of Hair & The Iotas) are recorded live at the rehearsal room by the musicians themselves on an eight-track ½" recorder, a testament to the thrive for authenticity that characterizes them. The vocals and some percussion are overdubbed by Nicolas Faus (El Vicio/Destination Lonely) and Guillaume Picard (Beach Bitches/Les Bellas/Hair & The Iotas). All compositions are original, including "Motor City Baby" and "Xmas Night", early versions of which appeared as singles in 2019. "Lost Time Rock'n'Roll" appeared in 2020 on Renaud Picard's (The Liminanas) new label. "Blind Man", on the other hand, was exhumed from Nicolas Faus's time with Destination Lonely. The track is so good that Destination Lonely have also re-recorded it with different lyrics and released it on their latest album. In terms of influences, The In-Fuzzed are placed at a crossroads of all forms of rock n' roll, from the purest garage-punk, passing through blues, country, and rhythm n' blues all the way to the Beach Boys ("Xmas Night") or Creedence Clearwater Revival ("You Ain't No Friend of Mine"). It has been a long time since there has been such freshness in a genre that has frequently been rejected, disparaged, and disregarded in the last decades. With The In-Fuzzed, garage rock raises its head again.
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STAUB 159LP
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Pascal Comelade and Richard Pinhas met in Paris in 1974, when Pinhas was beginning to go on stage with his group Heldon. With Heldon and, afterwards, solo, Pinhas became the pioneer and accelerator of electronic music in France, and a fundamental reference throughout the world. Comelade's electronic period was much shorter, from 1974 to 1981. From 1983 on, he developed his policy of instrumental, strictly acoustic music. In 1975, Pinhas recorded the introduction to Comelade's Fluence album. In 1996, Comelade recorded "Back To Schizo" with Pinhas. In 1999, Comelade and Pinhas recorded their first duo album, a CD for the Les Disques Du Soleil Et De L'acier label: Oblique Sessions II. In 2012, they released a second CD album for the G3G label in Barcelona, Flip Side (of Sophism). In 2018, Comelade again invited Pinhas on his album Le Cut-Up Populaire. During the last few years, they have had several concerts as a duo in Paris (Cité de la musique, La Maroquinerie) and Barcelona (Sónar Festival). They met again in 2020 for this LP album, Le Plan De Paris. It contains six titles that were either previously unreleased or completely revisited, developed, remixed. Edition of 500.
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STAUB 157LP
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Following on from the acclaimed Modern Jazz Dance Classics Volume One compilation (STAUB 148LP, 2019), Staubgold announce the arrival of Volume Two. Again, selected by MJDC's very own Jeff The Fish, here is another collection of contemporary club jazz which will please jazz DJs everywhere. The collection is eclectic and includes artists from the world over, from the Netherlands (Marutyri), France (Electrophazz and Pj5), the UK (Wild Card), Catalonia (Carxofa), Japan (Fox Capture Plan and Yusuke Shima), the US (Niki Haris, Brian Charette, Mario Cruz, and Nicole Banks), Germany (Markpaulnorton), Finland (Nina May), and Azerbaijan (Shahin Novrasli). A bit about how these MJDC compilations came about: For some time now on the continual hunt for new DJ material to play in the jazz scene, Jeff The Fish has been coming across great tracks by current artists that are often only available on digital or CD format, and we aim to compile and press this music onto vinyl so that DJs can play them in jazz sessions. Following a discussion between DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, Staubgold created the new sub label MJDC to do this. And here is the second volume of contemporary club jazz which will inject new music into the jazz dance scene.
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STAUB 155EP
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First-ever reissue of Vivien Goldman's legendary Launderette 7", produced with Adrian Sherwood and Public Image Limited's John Lydon and Keith Levene in 1981. The contrast between Vivien's high, lilting tones and the deep rumble of the bass is a hallmark of all Goldman's work, giving a haunting frisson of sex and alienation to songs like "Launderette", which was produced with PiL's John Lydon and Keith Levene. Vivien knew John as a fellow reggae fanatic, and he let her use PiL's studio down time to cut "Launderette", a song she had improvised over a bass line by Aswad's George "Levi" Oban. Bass is also the foundation of the angry anthem "Private Armies", a favorite of Rock Against Racism, here available in its long album version. "Girls love bass," Goldman says. "It's the yang to our yin. Women really respond to the depth and grounding of bass." Limited one-off pressing of 500.
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STAUB 156EP
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First 7" release with two exclusive tracks by newcomers Johnny Tramuntana from Perpignan (France). Children of the infamous Perpignan garage rock n' roll movement, Johnny Tramuntana add surf and French pop to their striking formula to make their listeners smile and dance. Limited one-off pressing of 100.
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2LP
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STAUB 151LP
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Following on from the release of Modern Jazz Dance Classics Volume One (STAUB 148LP) in 2019, which was popular on the jazz underground, the Staubgold's Modern Jazz Dance Classics sub label returns with another compilation comprising mainly of contemporary artists carefully selected by DJ Jeff The Fish, this time on a Latin trip for Sol Vibrations: Latin Dance Movements. There are carefully selected tracks from all over the world to make a great set and selection, including three acts based in Catalonia (Tromboranga, The Santiago Acevedo Ensemble, and Antoine "Tato" Garcia), some from the US (Camille, EC3), the UK (Alex Wilson, Born 74), France (Mayomi, Camarao Orkestra), Japan (Jizue), Brazil (Fabio Chagas), Cuba (Jean Pablo Torres), and Uruguay (La Calenda Beat).
For some time now in the continual hunt for new DJ material to play in the jazz scene, the Modern Jazz Dance Classics label (a division of Staubgold) has been coming across great tracks by current artists that are often only available on digital or CD format. The brainchild of French based DJ Jeff The Fish and Markus Detmer at the Staubgold record label in Germany, MJDC aims to provide DJs with this new music on vinyl and inject new sounds into the jazz dance scene.
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STAUB 152LP
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2021 restock. The Limiñanas have been international stars since 2010. A few years earlier, The Hushpuppies were in the spotlight. Two groups from North Catalunya who have written some of the most beautiful pages of French rock thanks to their garage and neo-sixties style. Two groups born from the flourishing sixties style punk and mod scene of the 1990s in Perpignan. Back from the Canigó explores that decade, which saw the emergence of more than twenty groups from different scenes that were to fuse together in the end. Through more than thirty tracks, many of which are released here for the first time, this album brings to light the pioneering work of Les Gardiens du Canigou and of The Ugly Things, as well as eleven other groups who make worthy heirs to the former: The Beach Bitches, Uguet 68, The Feedback, Les Buissons, The Likyds, The Lazy Sundays, The Vox Men, The Lightning Circus Band And The Boom Boom Beat, Human Potatoes, The Rippers, Psiquàtric Xaïs. From savage garage revival to sixties punk, from mid-sixties freakbeat to more psychedelic sounds, Back from the Canigó amplifies the echoes of a town turned into the French capital of these underground genres. These are the beginnings of a still active garage scene that, a few years later, would see the emergence of groups such as Les Bellas, The Sonic Chicken 4, Gaz Gaz, Les Fatals, Les Go-Go Players, Jack Of Heart, Hair And The Iotas... But that's another story, perhaps to be told on Volume 2. In the meantime, this is the '90s at the foothills of Mount Canigó.
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STAUB 154EP
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This beautiful four-track EP features only recent and re-worked recordings by Pascal Comelade which are previously unreleased. Highlights are his cover versions of The Ramones' "Sheena Is A Punk Rocker" and "Russian Roulette" by The Lords Of The New Church. Guest musicians include Lionel Liminana and Ivan Telefunken. French-Catalan musician Pascal Comelade, born June 30, 1955 in Montpellier, began making strange cover songs of rock and easy listening standards with such instruments as singing saw, toy piano, etc. He later developed an unmistakable style, co-operated with artists like Robert Wyatt or Faust, and has even inspired a follower band in Japan, the Pascals. Edition of 300.
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STAUB 153LP
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Les Mémoires d'un Ventriloque ("memories of a ventriloquist") is the long-awaited anthology of Pascal Comelade's collaborations with singers, recorded between 1981 and 2018, and featuring Robert Wyatt, PJ Harvey, and Jac Berrocal, among many others. Almost all tracks are rare, have only been released on CDs or compilations, have been re-worked by Pascal Comelade for this release, or have never been released before. French-Catalan musician Pascal Comelade, born June 30, 1955 in Montpellier, began making strange cover songs of rock and easy listening standards with such instruments as singing saw, toy piano, etc. He later developed an unmistakable style, co-operated with artists like Robert Wyatt or Faust, and has even inspired a follower band in Japan, the Pascals. Also features Sissi, Jean-Hervé Péron, Faust, Sergi Lopez, Alex Barbier, Enric Casasses, Roy Paci, Accidents Polipoètics, Les Vierges, Miossec, Marc Hurtado, Mark C., Pau Riba, and Albert Pla. Edition of 500; hand-numbered and signed by Pascal Comelade himself.
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2LP
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STAUB 148LP
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For some time now in the continual hunt for new DJ material to play in the jazz scene, Staubgold have been coming across great tracks by current artists that are often only available on digital or CD format, and have been cutting dubplates so the label can play them in jazz dance gigs. Modern Jazz Dance Classics aims to provide DJs with this new music on vinyl and thus inject new music into the jazz dance scene. Following a discussion between Jeff The Fish and Markus at the Staubgold record label in Germany, Staubgold created a new sub-label MJDC to do this, and here they are, with the first collection of some of these tracks that have gone down well in sets across Europe from various Fish events in France including the legendary "Fish Party" in Perpignan, to Genis Worksong's "Cool Fingers" in Barcelona, and Melody Nelson's "Home and Abroad" sessions in Hamburg and Hanover in Germany and more in between. If you are a DJ, hopefully you will find some of these tracks indispensable in your set, and if you are a collector, hopefully you will find this a great listen and addition to your collection. There are tracks from all over the world carefully selected to make a great set and selection. Features Bill Laurance, Hajime Yoshizawa, Khari Cabral & Jiva, Cro Magnon Jin, Maurice Brown, Yusuke Shima, Hermeto Pascoal & Grupo, Lovely Day, Johnaye Kendrick, Novox, Volunteered Slaves, Michele Villari, The Art Eixample of Canigo, The Ricky-Tick Big Band and Julkinen Sana, and TRI4TH.
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STAUB 150LP
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The "Elder Statesmen of Neo-Krautrock": Electro-duo Klangwart was thought-provokingly labeled as such by an inventive music journalist when presenting their previous album Transit, which was named, among others, Record of the Year in the "Avant-Rock" section of The Wire's 2016 Critics Poll (STAUB 133CD/LP, 2016). The tag responds to an understandable attempt at finding a category for one of the most singular phenomena of the electronic music scene. It might be more passing to call them the "Under-Statesmen", as minimalism and understatement are key elements of the Klangwart project, founded more than 20 years ago by musician and author Timo Reuber and DJ and Staubgold label manager, Markus Detmer. Every few years, seemingly coming out of nowhere, the duo releases a consistently critically-acclaimed Klangwart album, give a couple of concerts, and disappear once again. This might sound of harakiri, as it contradicts all common rules of the music market. But behind it lies a profound longing for veracious expression on the border between avant-garde and entertainment. In 2014, Klangwart traveled to the Colombian capital in order to record the material for Bogotá with protagonists of the local music scene: Damián Ponce (drums), César Quevedo (bass) and Eblis Álvarez (violoncello), members of The Meridian Brothers, and singers Juanita and Valentina Áñez Rothmann, aka Las Áñez. The result is Klangwart's trademark sound permeated by a Latin American pulse and pitch. Collectively improvised and recorded in a matter of days, the raw material was later edited and mixed by Reuber at the Inkiek-Studio in Cologne. Joseph Suchy added guitar overdubs and mastered the album. At all times unpredictable, exciting, and surprising, Bogotá is the latest milestone in Klangwart's ongoing musical journey. Includes CD.
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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 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 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 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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sold out, next repress: 2022; 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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