|
|
|
|
viewing 1 To 25 of 26 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
TER 057LP
|
$23.00
PREORDER
RELEASE DATE: 11/20/2020
"Back for a limited second pressing of 300, Badge Époque Ensemble's 2019 ST LP sold out immediately and has since started to fetch upwards of $70 a copy on Discogs. Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble -- a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian 'Twig' Turnbull (formerly Slim Twig -- DFA Records). Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon. Badge's distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group's self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, Tropicalia, prog and electric jazz records were flattened into a single 12" and then fed into a sampler, we might approximate the process."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 072LP
|
$23.00
PREORDER
RELEASE DATE: 11/20/2020
"Toronto's Badge Époque Ensemble announce sophomore album Self Help out November 20th on Telephone Explosion Records. Recorded live in the months before lockdown, Self Help is an exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib & the RZA. Throughout, the band pool together their instrumental chops, moving from fluid and serpentine R&B to meditative, minimalistic piano, evoking a contrast of virtuosity and self-surrender. A sticker on the sleeve tells us Self Help 'combines jazz-funk and mysticism,' a signpost to where its musical and spiritual concerns align. The jazz-funk component translates to arresting hooks in sideways song forms: echoes of Gainsbourg spooled through Azymuth-style Brazilian jazz and punctuated by the whip and snap of Steely Dan. 'The Sound Where My Head Was,' the instrumental centrepiece, exemplifies present-wave jazz but also ancient sounds, giving off the mothballed air of a Hiroshi Yoshimura record in a library-music archive. Self Help's mysticism emerges in broad and specific ways, denoting not only a search beyond cliché and intellect but also an inquiry into the beat, the spirit, the one will. This isn't new territory for them: Turnbull -- the artist formerly known as Slim Twig, who writes and performs with U.S. Girls and various other Toronto concerns -- named the group's Nature, Man & Woman EP after the Alan Watts book. Building these songs from his drafts over three weekends at Toronto's Palace Sound studio, the ensemble was free to tap out of the city and into some other place, taking up residence in a collective mind maze. The album produces, in equal measure, familiar surprises and the surprisingly familiar. Intoxicated jazz riffs swerve left at phantom intersections. Rhythms cut loose and tie you in knots. But wired in to each song is a sense of gentle accumulation, making every featherlight flourish weigh a ton. U.S. Girls' Meg Remy brings serenity to 'Sing a Silent Gospel,' and wears its antic melodies lightly. The soul shimmer of 'Unity (It's Up to You)' lets the players pool their R&B chops into something fluid and serpentine while, on guest vocals, the musical performance artist James Baley issues urgent declaratives: 'Water must pool, as a rule, before tasted/Or else the water is wasted.' The words throughout the record complement the ensemble music while riffing on the precarious nature of unity itself. Then, closer 'Extinct Commune' finds Turnbull deserted at the piano, playing phrases of meditative minimalism taking after the composer Joanna Brouk. For all the record's reach, it is these contrasting quiet moments that bring Self Help's communal spirit into focus. A note on personnel: Badge Époque Ensemble now has a seventh member in Karen Ng, the saxophonist and sometime collaborator of Do Make Say Think, Feist, and others. In BÉE, Ng joins Chris Bezant and Giosuè Rosati, her bandmates in the Andy Shauf live band, as well as U.S. Girls co-conspirators Turnbull and Ed Squires, and other Torontonian cross-pollinators listed below. Guest vocalists across Self Help include Meg Remy, who sings with Dorothea Paas on the opener, James Baley, and Toronto singer-songwriter Jennifer Castle on the remarkable 'Just Space for Light.'" --Jazz Monroe
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 071LP
|
$23.00
PREORDER
RELEASE DATE: 10/2/2020
"Good Time is Teenanger boiled down to its very essence. A lean and muscular eight-song album that is the sound of a band who simultaneously has everything and nothing to prove. It's what happens when seasoned songwriters flex their chops in an environment that fosters boundless creativity. It is also Teenanger's most fun album. Choruses soar to previously unattained heights, descending to a rhythmically fertile ground to pull earworms that will stick inside listeners' heads for days. If its songs were citizens, they would reside in a diplomatically neutral city-state, melting pots of art rock, pop, dub, post-punk and new wave. The music of Good Time certainly elicits pleasure, but lyrically things are more weighty. The band does not shy away from its commentary on contemporary issues. There are calls to reject societal norms, ruminations on humanity's obsession with technology and warnings about our impact on the environment. Teenanger never gets too earnest, delivering everything with an irreverence that has been there since day one. Good Time captures a pivotal point for Teenanger. The decision was made to take a leap of faith, leaving the confines of their past and moving into a space they could call their own. This allowed the band members to embrace a new way of making music and existing together. They may have almost died in Studio Z, instead they were reborn."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 070LP
|
$23.00
PREORDER
RELEASE DATE: 9/4/2020
"More than a decade ago, Freak Heat Waves emerged from Canada's stark Midwestern prairies, establishing their voice through early cassette-based experiments and DIY performances. Over the years, the group's live incarnations evolved as they endured a rigorous and nearly non-stop touring schedule. When not on the road, the Freaks became hermits, engaging in countless writing/production sessions that grew increasingly complex, eventually forcing them to travel beyond guitar, bass and drums. Their home studios continuously relocated, advanced and diversified. New instruments started to appear and new trajectories were explored. The studio process became more dynamic, involving many overdubs, avant-garde recording techniques, experimental sound design and orchestrations that utilized legendary effects, drum machines and synths. Tireless curiosity fueled the duo as they merged their original sound with new discoveries and seemingly disparate influences. With their latest work, Zap The Planet, the Freaks find themselves splitting coasts in Montreal and Victoria, distanced by geography and time, connecting via serial transmission tethered to a lone ethernet terminal. Extenuating logistics can unexpectedly prompt innovation. No Freak Heat Waves record has followed a singular path and no two are alike. Each album is an evolution in musical direction, songwriting and conceptualization. With Zap The Planet, (their second album on Telephone Explosion,) the duo has manifested more of their intrinsically unique vision and become more pronounced in their unhinged artistic process. The follow up to 2017's Beyond XXXL finds the Freaks taking a fearless, inventive leap to create the greatest departure from their previous work. There are no fads here, no accidents either. Freak Heat Waves give us a record full of lo-fi digital grit and early MIDI instrumentation. Dirty samples crackle as they skate over immense analog synths. Psychotropic rhythms plant roots and the timeless, signature Freak Heat Waves vocals serve as guides throughout the journey. Through it all the Freaks find themselves zapped!"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 069LP
|
"New Fries has never been interested in being a band. What we mean is a spirit of abandoning ideas of what songs should be, how they should be performed, and by whom. We've never been interested in the tradition of songwriting -- though we're interested in musical elements like repetition, space, and dynamics. We have wanted our music to make people dance but have also wanted to produce the feeling of that being taken away from a room. We often work around these sorts of energy transfers (whether or not we name them this way). This space to make music in has felt wild and free. We have also contradicted ourselves. We are also always changing. In 2018 Ryan Carley (synthesizer) left the band and we found ourselves at our first juncture to restructure and re-evaluate New Fries. This is such a classic boring story, we know. But immediately we knew that as a three piece (the band's original formation) we had to turn to something new and open -- the way some describe 'beginners mind'. Anni grabbed bass (which was new to her), Tim grabbed guitar and a sampler as a new juggling routine, and Jenny reduced her drum kit to three pieces. We wanted to create a structure that allowed us to be curious about being in transition. Much of this record sounds and reflects on this in-between. It's anxious in its repetitions and unsure of genre. It rejects a singular character or emotion and attempts to instead act as a container for many. Anni's lyrics state this directly: 'it lacks a mood, it lacks definition' / 'curiosity beyond expectation'. Her lyrics describe the spaces, objects, people, and situations that embody an in-between -- her grandfather who worked as medium, the ecology of the foreshore, Mount Tambora's eruption in 1816 that produced the Year Without a Summer, and mesh (the fabric). The result is a collage of 6 songs and many otherwise quick ideas. Much of this collage was testament to the work of engineer/musician Carl Didur. Carl (Zacht Automaat, formerly US Girls) is a long-standing pillar of Toronto's experimental music community. He is also a tape expert, which we knew these songs needed entering the recording process as mostly bare grooves. The result was less that of hiring an engineer than it was working with a collaborator. His musical ideas are all over this record. Is The Idea Of Us is the situation of musicians/non-musicians making music together perhaps completely illegible in the music on this record and to the random listener who doesn't know our story in South Bend, Indiana (how did you find us?!) But with this title we name this absurd gesture, through our changing relationship to making music both as a unit and as individuals. There are enough bands out there; we insist on do it differently."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 068LP
|
"Pantayo explores what's possible for contemporary kulintang music with the atonal blend of kulintang ensemble instruments with vocals and electronic production. The album features eight diverse songs speaking to Pantayo's musical influences as queer diasporic Filipinas. Produced by Yamantaka // Sonic Titan's alaska B, Pantayo was written and recorded from 2016-2019 in Toronto. Pantayo is an audio diary of how the ensemble has grown together as writers and performers. The songwriting process started with members workshopping and performing traditional kulintang pieces from the Southern Philippines, often instrument-switching on the kulintang, agongs, sarunays, gandingan, bandir, and dabak. Adapting kick drums and synths to the modal tuning of the gongs further expanded Pantayo's ability to incorporate modern musical expressions such as punk and R&B. 'If you listen to the recordings of our rehearsals and songwriting sessions, you can hear us deconstructing the kulintang parts section-by-section and practicing our songs in different styles' says keyboardist and vocalist Eirene Cloma. 'You can also hear how close we've gotten and how our creative workflow strengthened over the years.' Grounded in the interpretation of kulintang music, Pantayo can be a vehicle for discussions around diasporic Filipino identity. All five members have different experiences of settling in Canada and with that comes their relationships with music. Kat Estacio, co-founder of Pantayo, says 'One way that we can make this world feel like home for folks like us is to mix the kulintang music that we learned with different sounds and song structures that feel familiar to us.'"
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 066LP
|
"In the mid-70s, Mariangela Celeste signed to a major label (Polygram) at the age of 13. She would then go on to record her self-titled album with rising European superstar Vangelis. Though tragically overlooked upon its release, Mariangela is a gem of early electronic pop with sparkling synths, drums machines, and lush arrangements, propelling the songs of an unapologetically strong-willed Adolescent. By 1972, Vangelis' band 'Aphrodite's Child' had earned widespread acclaim for their lavish psych- prog masterpiece, 666. Though still years away from the Chariots of Fire and Blade Runner soundtracks, that would make him a household name also in North America, Vangelis had already released three solo albums, and was well on his way to becoming a worldwide celebrity. Polygram hired him as a producer to work with upcoming artists of their list, and he handpicked the teenaged singer-songwriter Mariangela. Mariangela's most successful songs are the ones she wrote herself, coupled with Vangelis' forward-thinking production. The heart-pumping beat of 'You Are The One' sounds like a teenage impression of ABBA or sonic forerunner to The Carpenter's song 'Calling Occupants of Interplanetary Craft'. Floating head and shoulders above all else is Mariangela's wave ballad 'My Dear Life', reminds of the fusing the spellbinding vocals of Wendy and Bonnie's 'Genesis', combined with the dazzling futurism LP of Roberto Cacciapaglia's The Ann Steel Album. The sophisticated ballads 'Alone With The Day', and 'Memories of Friends', consist of impressively orchestrated, heart touching melodies that give a powerful and moving experience to the listener. Its sound is years ahead of its time, with Vangelis' decisions to wrap the song's dreamy melodies in sundazed synths, popping drum machines, and cavernous guitar effects, confounding even its creator. When the album hit the shelves in 1975, its release was confusingly limited to Greece, Canada, South Africa, and Holland. Why Polygram would choose to make it nearly impossible to find it in Western Europe or England, where Vangelis' star was rising, remains a mystery up to this day."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 065LP
|
"On April 3, 2020, Toronto's Scott Hardware will be releasing Engel, his second full-length album, and first on Telephone Explosion Records. It will mark the end of a three-year process of writing, recording and letting down his guard (for better or worse.) His last album, 2016's Mutate, Repeat, Infinity, was the culmination of a years-long obsession with the HIV/AIDS crisis and how it was shaped by capitalism. Hardware's early years after coming out were shaped by the courage of people close to him who were dealing with difficult diagnoses. 'Looking at these situations from a macro/societal lens must have been the only way I could process and share those years of my life and my loved ones' lives with an audience' Hardware recalls. 'From a writing and production standpoint, I was trying to re-imagine various eras of dance music and sound as urgent and vital as they would have in their heyday of the '80s and '90s.' Within a year of moving back (to Toronto) from Berlin, Scott watched Wim Wenders' Wings of Desire and was immediately filled with its inherent curiosity. The film, in short, follows angels around pre-unification Berlin as they listen to the thoughts of the mortals they are surrounded by. 'I sought with this album to capture the film's velvety feeling -- in turns funny, depressing, dark and mundane -- in LP form' Hardware says. 'These songs imagine Wenders' angels buzzing around my friends, my family and I. Writing from their point of view allowed me unfettered access to my own thoughts about them and myself.' Engel's cover art is adorned by an image by artist Chris Curreri called the Insomniac. Curreri's work winks and nods to queer sex, emotionality and darkness, and this piece is no different. This is work that reaches back to queer artists such as Francis Bacon and brings back with it a timeless everyday horror faced by queers: shame. These are artists who visualize monsters and demons hiding in plain sight. Like singing to dead queer ancestors on Mutate, Repeat, Infinity, Hardware is trying to make sense of another queer cross-to-bear, this time coming from within. The image is gory and difficult, not unlike the process of digging shame from one's spirit. Engel, in its preoccupation with angels, the afterlife and private thoughts holds hands with the image."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 062LP
|
Limited restock, last copies. "Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles. Quiet Music 1 was originally commissioned for a meditation video, which featured a collection of video images of lush forested areas, wild flowers and natural serenity. But by the time the piece was completed the producer passed away and the project was never completed. Quiet Music 1's direct connection to a distinct environment set the tone for the trilogy of albums. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 063LP
|
Limited restock, last copies. "Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles. Quiet Music 2 was inspired by Steve spending a lot of time in deserts and was created as a natural progression from Structures From Silence, and the more nocturnal feeling of Quiet Music 3 were pieces designed for Steve's personal healing practices. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 064LP
|
Sold out, repress in May/2020. "Quiet Music is a collection of pieces created by Steve Roach between 1983 and 1986 in respect for silence. The gentle electronics of Roach's synthesizers mix with flute, electric piano and nature sounds flow like breath, enveloping the listener in a sustained, delicate and translucent atmosphere. Quiet Music was originally released as a three tape cassette series in 1986 on Fortuna Records and is now being issued as a complete series on vinyl for the first time ever. Limited restock, last copies. After Structures From Silence was released, Steve was receiving invitations to create music for the emerging meditation yoga and healing arts community in Los Angeles... The more nocturnal feeling of Quiet Music 3 were pieces designed for Steve's personal healing practices. The Quiet Music series was released in a timeline that is often seen as linear but this music was created directly alongside the dynamic fully electronic albums like Now, Traveler, and Empetus. In the early '80s Steve would be shifting between the invigorating sequencer-percussive driven music and then move directly into weightless drifts and contemplative spaces. This way of creating grew naturally out of a desire to not settle into one place sonically and to nourish himself with a space that could be creative and fine-tuned, creating a calm and renewing zone while living within the hectic pace of urban life in Los Angeles."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 058LP
|
"Croak In The Weeds, the second instalment in a planned trilogy from ex-Deadly Snakes frontman André Ethier, will be released in fall 2019 on Telephone Explosion Records. The nine-song album was created in collaboration with Sandro Perri (producer) at his Toronto studio in late 2018/early 2019. Croak In The Weeds continues Ethier and Perri's musical relationship which was originally established on 2017's Under Grape Leaves. Croak expands upon that album, deconstructing synthetic elements to a point of raw organic beauty. Lyrically, André's approach has shifted to the natural world, focusing heavily on flora and fauna. Almost every track on the 34-minute album references animals, with central characters ranging from pigs to dragons. This is André's third attempt at a trilogy of records. Previous attempts have stalled for various reasons; disillusionment with genre, unrealistic sense of self, arachnophobia... Though it would not be inaccurate to suggest that he now has completed a trilogy of unfinished trilogies (he would thank you for your optimistic reasoning,) and is still planning to finish this one. Regarding trilogies, André opines: 'In the first you establish the tools and build yourself a room, in the sequel you live in the room and imagine what's outside, finally in the third... you escape?' He doesn't know, he has never gone all the way..."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 055LP
|
"Canadian private press mega-rarity/obscurity from the artistically schizophrenic Bob Bell. Recorded in 1978, Bell splits the difference between his love of basement psych splatter/pummel and squalling free jazz ramble, the former occupying side A with a stunning four-part suite of wasted guitar scuzz and churning Krautrock-like drama with an akin to German Oak, Roland Kirk, Albert Ayler, DNA, Melt Banana (minus the vocals) and Guru Guru. The latter represents Bell as a saxophonist on side B, and the music itself translates into a 15-minute free-jazz exploration. Necropolis is a highly sought-after 35 min doom-laden trip for the connoisseurs of noise."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 054LP
|
"In the mid-80s, an original form of music was discovered on the midi-capable little planet of Austin, Texas. At the age of 32, Charles Ditto would release his first solo album applying cutting edge computers and synthesizers of the era (Roland DX7, Roland MKS-20, Roland MKS-80, Sequential Circuits Profit 2000 along with a Macintosh SE), creating a unique and detailed world that was inspired by Cluster, Eno & The Residents. In Human Terms bridges the gap between contemporary classical and minimal pop. Rhythmic but melodically abstract. Microtonal and organic. Often described as experimental electronics, tone poems or Cyber-delic-psychotropic-avant-garde. In Human Terms, remains very emotion, deep and different. Ditto's music imparts a new listening experience that is still somewhat indescribable today, but remains approachable and relatable."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP + 7"
|
|
TER 053LP
|
"After no-wave legends Liquid Liquid broke up in 1984, singer Salvatore Principato took some much need to time to revaluate his musical direction. Renting a studio on the Lower East Side with Ken Man Caldiera. It was there that they started their next musical project, Fist of Facts. In 1985 Ken Man showed up in the studio with this IBM AT computer. It had a 1/2 MB of RAM and some Voyetra software that could sequence music, becoming the duo's backing band. Fist Of Facts contributors included Mark Cunningham from Mars, Felice Rosser, Genevieve De Monvel Boutet, Carlos Vivanco, Scott Hartley from the Liquids and a whole host of others. Fist Of Facts expand the natural groove that Liquid Liquid established over their quick career, with a strong political message combined with abstract dub soundscapes."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TER 052LP
|
"Chandra Oppenheim was a child star like no other. As the daughter of famed conceptual artist Dennis Oppenheim. By age nine, Chandra was staying up late at her parents' art-world parties, collaborating in her father's projects, and performing her own plays at downtown hotspots such as The Kitchen and Franklin Furnace. This set the stage for Chandra's course-altering collaboration with members of The Dance, who were looking to form yet another project and found their muse/fuse in ten-year-old Chandra. Transportation EP, originally released in 1980 by The Dance's own label, ON/GoGo. Balancing on razor-wire guitars, liquid bass lines, and dub-style melodica, the Chandra band unveiled their first four songs: 'Opposite', 'Concentration', 'Subways', and 'Kate.' While Chandra's music can be compared to her no wave contemporaries Y Pants, France's Lizzy Mercier Descloux, Su Tissue of Suburban Lawns, or 'Delta 5 meets the Jackson 5', to quote critic David Ma, her lyrical fixations are truly singular. With hypnotic, chanted vocals focusing on chilling themes of mind control, multiple personalities and missing the train. At age 12, the post-punk pre-teen took the stage with her band for the first time at New York's legendary Mudd Club. A whirlwind of press coverage ensued from glossy magazines like Vogue and Paris Match to the influential underground zine Non LP B Side and a Soho News cover story. The infectious, propulsive 'Get It Out Of Your System' opens Chandra's second EP with one of her most commanding performances. 'Stranger' slows the pace with stop-start rhythms, woozy synths, and the harmonized return of the melodica, while its lyrics find her being followed by a mysterious character revealed to be a woman. 'Tish Le Dire' sounds like The B-52s in an eerie alternate universe with instructions on speaking up to your parents or authorities to the point of threatening suicide. Chandra stepped away from the band at age 14 to focus on her education. Sadly, the second EP was shelved and would not see the light of day for decades. Chandra's trip continues with this new deluxe reissue from Telephone Explosion Records. Returning her debut EP to its original four song, single-record release at a dancefloor-ready remastered 45 RPM, the expanded edition also adds to the second EP with a pair of never-released songs from her 1983 four-track cassette demos. 'Day Without Success' and 'They're All Alike' find Chandra's dream-like vocals driven by minimal wave synth zaps and pulsating drum machines."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 051LP
|
"Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled The Melodic Energy Commission of Collected Artists. MEC quickly released two albums: 1979's Stranger in Mystery and 1980's Migration Of The Snails. The music is raw and heavily exploratory, often shifting styles radically within a single track, moving from quiet chamber orchestras to dissonant guitar freak outs with smears of analog electronics filling in gaps along the way. RIYL: Amon Düüll II, Tangerine Dream, Hawkwind, Sun City Girls and Syd Barret."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 050LP
|
Last copies, reduced pricing. "In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce's lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive. We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo's Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes. All of the chosen material on The Preservation Tapes is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce's musical career where Bruce was recording for Sparrow Records (who billed themselves as 'America's best Christian music record label'). Bruce's signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious. The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
TER 049LP
|
2018 repress. "Steve Roach's 1988 double-disc is back in production for the first time in 30 years. Dreamtime Return was inspired by multiple visits to the Australian Outback. The concept behind Dreamtime has secured the album as one of the pivotal works in ambient music today. The tales told over two LPs touch on the earth's origins, and the role humans have to play in it. Inspired by the stories of Australia's first people, Steve Roach used a combination of synthesizers and ancient Aboriginal instruments to create the album's signature sound, most notably the dumbek & the didgeridoo. Dreamtime Return travels through unexpected pathways with slow moving textures, as tones scatter into brilliant arrays and evolve into a mystic long-distance journey. Remastered from the original tapes, Dreamtime Return will be released as a deluxe gatefold double LP."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 047LP
|
"In Andre Ethier's (The Deadly Snakes) remarkable Under Grape Leaves, a world emerges in and out of focus under the dappled green light of a backyard arbor. This collection of songs offers a kind of escape, but the invitation is less about checking out than it is about checking in. The record feels like a surreal and subtle manifesto for embracing radical domesticity in the midst of the modern storm, which here is just a distant synthetic rumble in the background. There are shifts in perspective and in landscape, from the rhythms of dishes knocking together in the sink to the space between the sea and the sea wall. Blending acoustic guitar with common household instruments like flute, recorder, and a drum machine, this feels homemade in the most literal sense. But this isn't to say that it the record doesn't come across as carefully constructed -- the attention to detail is evident in each well considered line and in the whole project's wave-like flow. Under Grape Leaves was produced by Sandro Perri."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 045LP
|
2018 repress. "Steve Roach is one of the defining American artists of new age music, perpetually on a quest for silence and the suspension of time in his music. Structures From Silence is his third album originally released in 1984, and is his first purely textural album, with a smooth, dark, gentle atmospheres unlike any of his other albums. 'Full of purring drones and high notes that shimmer and fade. Like a desert mirage, these structures hover forever at the horizon, an oasis from the din surrounding it' --From Pitchfork's 'Best Ambient Albums Of All Time'. 'Steve Roach's Structures From Silence remains one of the most important ambient albums ever crafted. It isn't as high profile as similarly poised records from Brian Eno, but its enduring influence has been unmistakably visible in the three decades since its release.' --FACT Magazine. Remastered from the original tapes, this is the first vinyl reissue of the album since its initial release in 1984."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 041LP
|
2017 repress. "Bruce Haack's 1970 electronic acid rock masterpiece is back into production! The Electric Lucifer is the third album in the ongoing Telephone Explosion X Bruce Haack series (previous releases include Haackula & The Electric Lucifer Book II)."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 039LP
|
"A compilation LP from Edinburgh post-punks, Visitors. Recorded or funded solely by John Peel between 1979 - 1981, Poet's End offers all three highly collected 7" singles plus 4 additional unreleased songs from the same recording sessions. Limited to 1,000 copies, Visitors Poets End will be an essential in every punk collectors collection."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 036LP
|
"Telephone Explosion reissues for the first time on vinyl ever Bruce Haack's cult masterpiece Haackula. The releases feature the full Haackula album along with Russell Simmons (RUN DMC) co-produced electro banger 'Party Machine.' Limited to 1,000 copies... essential in every minimal synth, experimental, outsider, electro collection."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TER 014LP
|
2015 repress. "It didn't take long for the first two runs to sell out, and both became collector's items, so act fast! Side A stabs you in the eye with seven of Ty Segall's heaviest jams, including a cover of The Avengers' 'Be a Caveman!' Side B sees UK veterans Black Time in fine form. Six unrelenting and distorted songs that are unmistakably Black Time."
|
viewing 1 To 25 of 26 items
Next >>
|
|