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CD
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AUK 135CD
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Damage Control combines both EPs released by The Vacant Lots on Anton Newcombe's label A Recordings: Berlin EP (AUK 124EP, 2016) and Exit EP (AUK 131LP, 2019). All tracks were produced and recorded by Anton Newcombe (Brian Jonestown Massacre) at Anton's Cobra Studio in Berlin. Jared Artaud of The Vacant Lots says, "working with someone who made you want to make records is fucking inspiring. You not only learn a lot working with Anton in the studio -- you become a better artist in the process. Through this collaboration we were able to distill ideas on the spot and turn fragments into songs. Anton pushes you further to get the best results and that really drives the process of making records." The Vacant Lots have recently released their critically acclaimed third album Interzone (2020) on Fuzz Club and have previously released singles with Mexican Summer and Reverberation Appreciation Society. The duo has collaborated on their debut album Departure (SCR 080CD, 2014) with Spacemen 3's Sonic Boom, and their second album Endless Night (2017) with Alan Vega. The group has toured with Suicide, Black Rebel Motorcycle Club, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum. CD version marks the first time all tracks will be made available on CD; includes liner notes from the band.
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2LP
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AUK 135LP
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Double-LP version. 180 gram vinyl, white vinyl with black splatters; Gatefold sleeve. Damage Control combines both EPs released by The Vacant Lots on Anton Newcombe's label A Recordings: Berlin EP (AUK 124EP, 2016) and Exit EP (AUK 131LP, 2019). All tracks were produced and recorded by Anton Newcombe (Brian Jonestown Massacre) at Anton's Cobra Studio in Berlin. Jared Artaud of The Vacant Lots says, "working with someone who made you want to make records is fucking inspiring. You not only learn a lot working with Anton in the studio -- you become a better artist in the process. Through this collaboration we were able to distill ideas on the spot and turn fragments into songs. Anton pushes you further to get the best results and that really drives the process of making records." The Vacant Lots have recently released their critically acclaimed third album Interzone (2020) on Fuzz Club and have previously released singles with Mexican Summer and Reverberation Appreciation Society. The duo has collaborated on their debut album Departure (SCR 080CD, 2014) with Spacemen 3's Sonic Boom, and their second album Endless Night (2017) with Alan Vega. The group has toured with Suicide, Black Rebel Motorcycle Club, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum.
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AMGEN 001CD
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"All the music on this album is improvised. I designed and built a long-forgotten instrument, experimented with wound and pleated horse hair strings, I engaged with historical texts and poetry, learnt the techniques and music from the Robert ap Huw manuscript and researched the importance of the horse and horse cults in Welsh culture. All these interventions were a means to improvise historically informed music and re-evaluate the legacy of the harp in Wales but ultimately served as a jumping off point so as to create new possibilities." --Rhodri Davies
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12"
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APUSAPUS 001EP
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2020 repress. Various creatures of the native flora and fauna are interpreted on Dominik Eulberg's label Apus Apus. The music pieces are thoughtfully presented with two tracks per EP. His first EP features the track "Bienenfresser" ("bee-eater") and "Blauracke" ("blue roller"). "Bienenfresser" oscillates from one color into another without losing its significant habitus. It is a musical journey through the color scheme of the bee-eater -- a collective, mobilizing anthem. The magnificent turquoise blue plumage of the blue roller are translated into worlds of sound on "Blauracke". Sparkling melodies intertwine gracefully along musical chains, and create a constant redefinition of the theme.
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12"
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APUSAPUS 002EP
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2020 repress. Dominik Eulberg's second EP on his label Apus Apus. Not allowing any objection, "Roter Gitterling" strides forward with determination towards a musical interpretation of the fleshy red cage of the mushroom it takes its name from. A fulminant kick drum counteracts in a very prosaic way the bitter-sweet pads. "Tintenfischpilz" is a bizarre looking extraterrestrial mushroom that evokes, at first glance, the image of a dead octopus or radioactive vegetable. All done with elegant blend of continuous progression and permanent change the track wreathes itself towards heaven, whereas fragmented melody artifacts pour into the shape of a miraculous emergence.
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12"
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APUSAPUS 003EP
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2020 repress. Dominik Eulberg's third EP on his Apus label features two tracks, "Abendpfauenauge" (Eyed Hawkmoth) and "Oleanderschwärmer" (Oleander Hawkmoth). "Abendpfauenauge" brings together a romantic outlook as well as a rave quality through sequentially tight-knit melodies which enable a DJ to play the tune in the club. "Oleanderschwärmer", on the contrary is a dreamy and airy 15-minute epic that is a true fascinating listening experience.
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7xBLU-RAY
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AV 321BR
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"Fourteen of the Godfather of Gore's finest attractions, restored from original and best surviving vault materials. High Definition Blu-rayTM (1080p) presentation of the features and extras seven blu-ray discs."
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BING 162LP
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LP version. "Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
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BING 163LP
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LP version. "Drawing the connections between Wendy Eisenberg's releases feels like undertaking a wide-ranging investigation. Albums of wildly inventive guitar, tempo-shifting avant rock and curiously leftfield pop fit together as offerings of Eisenberg's curious mind. On Auto, their most innovative and inner-reaching album yet, Eisenberg explores emotional, subjective truth, and how it interacts with an objectivity no person alone can grasp. Inspired by the solo work of Mark Hollis (Talk Talk) and David Sylvian's Blemish, with playing skills that have already seen them climbing Best Guitarist lists and an unvarnished vocal immediacy, Wendy Eisenberg has created an album of subtle display that resonates with maximal impact. Auto has multiple meanings. First, automobile: 'A lot of these songs were written about and mentally take place when I'm in the car on my way to gigs,' says Eisenberg. Immediate melodies came to them on these trips, to which they'd later add complex guitar parts. And automata: 'I make myself into a machine, which is why everything that's played is precise.' Finally, they frame their work in the literary technique of auto-fiction, 'the semi-fictionalized presentation of the self in a narrative form of growth,' as Eisenberg sees it. The album served as a means toward working through emotional conflicts from adolescent trauma and PTSD, and dissects the dissolution and conflict that led towards the breakup of their former band. With much of it written while its events played out, Auto faces the grief of losing what one thinks is their future while experiencing a dramatic reshaping of their past; it delves openly into the limited nature of one person's narrative. After making a few efforts to record Auto, Eisenberg ultimately chose to collaborate with childhood friend Nick Zanca, who contributes electronic elements and production. Mirroring the personal and organic offered by Eisenberg, synthetic sounds form a kind of boundary or context for everything. They 'sound like commentary on songs that were written from an organic or subjective perspective,' says Eisenberg. Their place on the album is integral for Eisenberg's goal 'to outweigh the subjectivity of normal singer-songwriter guitar songs with the objectivity of electronic sound.'"
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BCD 17626CD
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"The fifth volume in our documentary series on Rock 'n' Roll from Great Britain. CD album with Lee Curtis' best recordings for Decca and Star-Club. There are similarities to King Size Taylor, to whom we have already dedicated an album: both were able to establish themselves better in Germany than in their British homeland. Detailed liner notes by Ashley Wood in the extensive and illustrated booklet. When Lee Curtis and the All-Stars finished 1962 as runners-up in the Mersey Beat Poll and then shortly thereafter secured a Decca recording contract, they must have felt as though they could be on the verge of a national breakthrough. Concerts and contracts notwithstanding, Lee's film star good looks and the presence of former Beatle Pete Best on drums were potentially a record company publicist's dream but mismanagement by Decca and ill-timed Star-Club jaunts saw Lee's homeland profile diminish rather than increase. As with our earlier series subject King Size Taylor, Lee found his audience in Germany where he performed with great success until a car crash effectively halted his career in 1967. Selected from more than two albums worth of material including tracks cut for both Decca and Star-Club, The Brits Are Rocking Vol. 5 focuses on Lee Curtis. Let's stomp..."
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2LP+CD
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BEC 5543437
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2020 restock; double LP version. First vinyl edition; 180 gram vinyl; printed inner sleeves; includes CD. Because Music present a reissue of JJ Cale's Live, originally released in 1996. This live album features 14 classics, including "After Midnight", "Cocaine", and "Old Man". All tracks were recorded across several different shows: Carnegie Hall (New York, 1996), The Philharmonic (Munich, 1994), Flynn Theater (Burlington, 1993), The Great American Music Hall (San Francisco, 1994), The Hammersmith Apollo (London, 1994), The Sommerville Theater (Sommerville, 1993), and Park West (Chicago, 1990).
"Cale's live performance style does nothing to quell his reputation for laid-back but pristine guitar playing and reserved Mississippi John Hurt-style delivery. A man who truly appreciates the value of restraint, Cale leaves plenty of room for his immaculate guitar lines, even to the point of irony on an ambling version of the previously insistent 'Mama Don't.' This collection, which was gleaned from an assortment of live shows dating from 1990-1996, finds Cale allowing his songs to unfold organically." --All Music
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BISON 006CD
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The latest chapter in the unfolding musical story of Bill Wells finds the Scottish jazz outsider's compositions played by a trio of tuba players with energetic contributions from young brass players from his adopted hometown of Glasgow. The results, The Viaduct Tuba Trio Plays The Music Of Bill Wells, are alternately ruminative, playful, and profound, ranging from the cyclical opener "Fanfare For Three Tubas" to a mischievous interpretation of "The Midges", a comic tribute to the entomological scourge of the Highlands by Scottish singer Kenneth McKellar, and the doleful "Chorale 4K" before the arresting finale of "Stone Throw Dream Anthem". Throughout the variety of moods conjured by the musicians the listener is reminded of both the power and tenderness of brass instruments -- their capacity to astound and reassure, to soothe and tickle. The trio in the title -- Antony Hook, Danielle Price, and Mark Reynolds -- formed in 2018 to perform in the lee of the Glenfinnan Viaduct as part of the Loch Shiel Festival. Wells contributed three tunes for the performance, including "Fanfare For Three Tubas", and composed the remainder after being commissioned by Glasgow's underground/experimental festival Counterflows as a direct result of the Glenfinnan Viaduct performance. The trio subsequently performed Wells's tunes in Glasgow with the Gorbals Youth Brass Band, who play on three of the album's ten tracks, sharing a bill with a duo featuring Chicago composer, flautist and educator Nicole Mitchell and London-based percussionist Mark Sanders. The Viaduct Tuba Trio Plays The Music Of Bill Wells represents another creative achievement for the prolific composer and multi-instrumentalist. Recorded at Castle of Doom studios in Glasgow by Tony Doogan, mixed by Bill at Loathsome Reels and mastered by Norman Blake of Teenage Fanclub. Cover art by longtime collaborator Annabel Wright.
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LP
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BLACKEST 015LP
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2020 restock; LP version. Carla dal Forno presents her debut solo album You Know What It's Like, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone - stoned and deadpan - but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno's emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. "Fast Moving Cars" and "What You Gonna Do Now?" weigh up claustrophobia against loneliness, inertia against acceleration, doubling-down versus taking-off; the title track acknowledges the provisional nature of love and "real" intimacy, then decides to brave it anyway. By the time the startlingly sparse "The Same Reply" arrives, the sense of dejection is absolute. The vocal-led pieces are interspersed with richly evocative instrumentals. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures "Italian Cinema" and "Dragon Breath" channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. The drum machine and bassline of "DB Rip" are pure Chicago house, but then its dark choral drones nod to Dalis Car's dreams of blood-spattered Cornwall stone. "Dry The Rain" drinks from a stream of moon-musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats's Odyshape (1981).
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BB 028LP
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2020 restock; LP version. The Bureau B label reissues the first solo record by composer/poet Hans-Joachim Roedelius, one of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. Durch Die Wüste was originally released in 1978 on Sky Records, and fans of German electronica awaited the LP with particular anticipation, as the founding member of Cluster/Kluster/Harmonia had played a major role in the development of synthesizer music. They were in for a shock, however, as Durch Die Wüste turned out to be anything but an electronic album; in the avant-garde landscape of popular music, the record was a beacon of innovation. Initial reaction was rather less auspicious, centering around the question: what did this music have to do with Harmonia and Cluster? Anyone who has listened carefully to Cluster's 1974 effort Zuckerzeit will have come to recognize Roedelius' stamp on this and all subsequent Cluster and Harmonia albums. Just how far Roedelius would develop his own compositional technique and mode of playing would only become obvious when he was set free from the ensemble environment. Listeners at the time were baffled by just how little electronically-generated sounds were a feature of the album. Synthesizers and electronic effects did play a part, but Roedelius integrated them so seamlessly into the arrangement, that one barely noticed them. The rhythm machine was relegated to the status of metronome. In fact, Roedelius' decision to distance himself from electronic music, rigid in structure as it had become, and turn to a new form of musical expression, is what really gave the album its experimental character. Recorded over a 2-year period assisted by engineer Dave Hutchins and Conny Plank, who also contributed his unmistakable guitar and percussion style, and Dieter Moebius, who, in spite of everything, set a few significant markers with the synthesizer. There is a space-y, organic, relatable warmth to this record that absolutely transcends time. This reissue is pressed on 180 gram vinyl and comes in a glossy inner sleeve with notes by Asmus Tietchens.
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BB 029LP
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2020 repress of Bureau B's 2009 reissue. LP version. Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.
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BB 063LP
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2020 restock. LP version on 180 gram vinyl. This is the third solo album by German keyboardist Hans-Joachim Roedelius, originally released in 1979 on Sky Records. Alongside his ongoing work with Cluster and Harmonia, Roedelius amassed an almost incalculable number of musical notations during his time in the idyllic Weser Uplands. Fleeting sketches, spontaneous improvisations, implied miniatures, rough compositions -- Roedelius recorded virtually every idea he came up with outside the studio sessions on his Revox A77 reel to reel; with the basic intention of capturing his moments of inspiration, he simply let the tape run as he played around on the Farfisa organ. Sound quality was not his prime concern, as he was not as yet entertaining any notion of releasing the results. As Roedelius recalls, costly tape spools were at a premium, so he recorded over older tapes in mono, at a less than ideal speed. Substandard, technically speaking (or listening), but as a self portrait, nothing short of a masterpiece. It would be inappropriate to measure this album by the hi-fidelity yardstick; see it as something closer to an intimate confession, an unguarded communiqué from one person to another. Bordering on naivety and free of conceit, Roedelius introduces us to his world through these chiffonesque études. There may be little variation in the Farfisa sound, but this is soon forgotten when Roedelius invites us to listen, to enter the experience. No expensive technology, no producer, no collaborators. This is unfiltered personality, the real Roedelius. Musically, Selbstportrait is characterized by a combination of ländler, minimalism and harmonic simplicity. The Weser Uplands, where Roedelius recorded his music, are certainly no Arcadia and the village of Forst is anything but Atlantis, but perhaps it could become the Graceland of German electronic music. Printed innersleeve with original liner notes and new notes by Asmus Tietchens.
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2LP
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BYTES 006LP
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Dissident (BYTES 002LP, 2020), the debut album from Ride's Andy Bell, recording as his electronic alter ego GLOK, was released to widespread acclaim. On Dissident Remixed, album number seven on the label Bytes, lil' sister of Ransom Note Records, members of the extended Ransom Note family and fans of GLOK and Ride have come together to reimagine the source material in a rich smorgasbord of styles. Andrew Weatherall (RIP), Richard Sen, Maps, Jay Glass Dubs, C.A.R., Leaf, Timothy Clerkin, Franz Kirmann, Minotaur Shock, and the man himself all step up to lend their talents to the project and the results are stunning. Richard Sen kicks things off with his swaggering remix of the album's title track, distilling the 20-minute John Carpenter-meets-krautrock original into seven-minutes of psychedelic disco-dub, with Andy's John Squire-esque guitar licks to the fore. Add an Ian Brown vocal and this is what the Third Coming of the Stone Roses should have sounded like. Andy's contribution is a game changer, as the widescreen ambient techno throb of "Pulsing" is revamped over 15 hypnotic and glorious minutes. Imagine Mr Fingers at 33rpm, augmented by plaintive piano lines and dissonant atmospherics. This is the slo-mo acid-house/shoegaze hybrid you didn't know you needed. Timothy Clerkin's remix of "Projected Sounds" is the perfect foil for Andy's epic excursion. The Insult to Injury head honcho takes the propulsive Neu! meets Steve Reich original and slows it right down, with squelchy acid lines, chanted vocals and trippy effects. It's "Voodoo Ray" for the shoegaze generation. Splatter vinyl; gatefold sleeve; edition of 500.
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CF 130CD
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"This is the first interstellar transmission from five days of electrified and improvised sessions recorded at Stu-Stu- Studio, edited down to forty minutes for your earballs. Bent Arcana is the inceptive chapter in what I hope to be several releases showcasing these types of off-the-cuff musical compositions. So you can try your fry on and turn off. This one is very much on the ECM/'70s hard fusion/prog-kraut tip. It is a many pronged weapon, swung by the spontaneous sentinel." --John Dwyer
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CF 130LP
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LP version. "This is the first interstellar transmission from five days of electrified and improvised sessions recorded at Stu-Stu- Studio, edited down to forty minutes for your earballs. Bent Arcana is the inceptive chapter in what I hope to be several releases showcasing these types of off-the-cuff musical compositions. So you can try your fry on and turn off. This one is very much on the ECM/'70s hard fusion/prog-kraut tip. It is a many pronged weapon, swung by the spontaneous sentinel." --John Dwyer
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CTI 001LP
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2020 restock; on purple vinyl. Originally released to much acclaim in 1981 by Rough Trade, Heartbeat was the first in a long line of groundbreaking albums by Chris Carter and Cosey Fanni Tutti. This early example of Chris & Cosey features cut-up sampled voices, Cosey's disto-guitar, industrial sequences, melodious synths, and cinematic sweeps. Includes a 12" B/W double-sided insert of archive photos, clippings, and texts.
"There are moments of great beauty like 'Moorby' and, equally, many moments of sheer depravity all performed with Kraftwerk's cultured class and the hypnotic charm and deadly grace of a synthesised cobra." --Steve Sutherland (Melody Maker, 1982)
"All the world loves a love story... but Heartbeat still has an edge of evil among the extensions of the pair's established scenarios." --Sandy Robertson (Sounds, 1981)
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2LP
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DLS 010LP
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Double LP version. Transparent orange vinyl. This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish", the first single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group's tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months "with respect to the sacred healing truth of nature." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release By The Fire in 2020, and with Daydream Library, has released this quote: By The Fire is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace -- songs in the heat of the moment.
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2x12"
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DESET 002EP
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2020 restock. Berlin mainstay Ricardo Villalobos delivers the Mandela Move EP, a four-track EP of freshly stripped-back dancefloor movers saturated in brilliantly clever, unorthodox, and masterful sound design. Arriving as the second release on the Deset label, Ricardo Villalobos offers his incredible production talents to the blossoming Italian label, already heavily desired by both discerning DJs and punters alike. "Mandela Move" is a patient club cut in true Villalobos style: loopy, track-y, and trippy. Sonically shapeshifting in different directions, surprise percussion changes, perfectly sourced samples and a storytelling theme from start to end. "Frontec" is a shimmering 13-minute banger focused on only the most important elements and effects. Live percussion and fantastic tones sprinkle throughout with creatively tuned bells and whistles scattered across in a way only Ricardo can do. "Ectroscop" comes complete with some fuzzy bass frequencies and twisted vocal samples which rest under the surface. The loose rhythm structure and general freedom of the track confirms a true dance cut destined to be a favorite for the crowds listening closely. "Beetglass" is centered around a shuffling house foundation with huge synth swirls which come seemingly out of nowhere. Truly a primetime Villalobos banger if there's ever been one. Destined to lift the heads off the lucky folks on the floor when it's played.
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ET 785-08LP
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Restocked, last copies. The Maciunas Ensemble was founded in Eindhoven, The Netherlands, in 1968 as a free improvisational music group that set out to realize the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. In the mid-1980s, after a number of personnel changes, the group settled on the line-up of artists Paul Panhuysen and Mario van Horrik, musician Jan van Riet, and scientist Leon van Noorden, which remained stable until Panhuysen's death in 2015. The group met and played on a regular basis, usually improvising on instruments that were at hand and recording every session. Before playing the next session, the previous recording was listened to and discussed. In 1980, the Eindhoven art initiative Het Apollohuis, also the home of Panhuysen and his family, became their home base, a place that subsequently gained fame for being one of the first and longest-running venues for sound art and experimental music in Europe. In the recent years, the Maciunas Ensemble has begun to go through its vast archive of recordings and to select material for publication that remained unreleased so far. The first bundle of archival recordings, dating from 1968 to 1980, was released on an 11-CD set on Apollo Records in 2012. For their 50th anniversary in 2018, the second part of archival recordings is to be published, its first instalment being this LP on Edition Telemark comprising unreleased tracks recorded between 1982 and 2012. More archival material will be released in digital format by the ensemble. This LP allows a glimpse into the musical directions the Maciunas Ensemble has been undergoing during those 30 years. Side A features "Ice Cream Man" and "Toxic Metals", two repetitive, thundering tracks from the early 1980s played on guitar, piano, and cello, and heavily inspired by minimalist rock and post-punk music. Side B contains four shorter tracks: "Russolution" (1985), played on self-built aluminum monochords, "Stamples" (2002), employing sampled voices, and "ZENder" (2009) and "Dèdeboum" (2012), both improvised tracks on vocals and a number of instruments. Standard edition of 250; brown Kraftpak sleeve with printed inner sleeve and liner notes by Mark van de Voort and Werner Durand.
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EMEGO 288LP
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Vanish is Julia Reidy's yearning, fat debut for Editions Mego. Since 2019, Julia's bubbling 12-string guitar work -- sighing streams of crystal plucks drawn closer or echoing on -- has moored a tactile, ever-lusher sound. On "Guitar", the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion. Reidy's music sweeps you up. It's restless, always traveling on. Lonesome tones into machine chorales into hesitant hum. The LP's side-long cuts sway between scenes but are always rooted: Julia's guitar and vocal lines seem mapped to the natural ebb-and-flow of breath and thought, they lull you as they push through vast and secret spaces. Vanish completes a trio of releases begun with last year's brace, brace (Slip, 2019) and In Real Life (BT 051LP). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album's sense of build -- electric licks rasping into glistening synths, punctured by distant kicks -- feels freshest. When "Oh Boy"'s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak. Music by Julia Reidy. Mixed and mastered by Joe Talia at Holding Pattern Berlin, June 2020. Artwork by Suze Whaites. Layout by Nik Void. Impossible without: Suze Whaites, Adam Pultz Melbye, Manuel Pessoa de Lima, David Walker.
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LP
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ENLP 120LP
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Roughly translated from Portuguese, Na Zona means something like being in a specific place, occupying a zone and owning it -- a fitting metaphor for Branko's career as a DJ and producer exploring the global side of club music. But what happens when you can no longer occupy physical spaces to create a shared experience around club music... Enter Volume 2 of our Branko Presents: Enchufada Na Zona compilation series, where following the release of his sophomore album Nosso (ENLP 102LP), the Enchufada founder curates a selection of original music from himself and some of his favourite artists, as well as a series of his own edits and remixes, all created during quarantine from home studios in Lisbon, Accra, São Paulo, London, or Paris. With the club seeming like a distant memory, Branko puts forward a collection of songs more fitting to the times we live in and the physical space we get to enjoy them at: home. Alongside new music from the likes of Dengue Dengue Dengue, Studio Bros, or Vanyfox, as well as his edits and remixes for artists such as Dino D'Santiago, DKVPZ, or Gafacci, Branko presents a more melodic and introspective take on the always-evolving and warm-blooded rhythms of global club music, a product of every artist's shared experience of creating and enjoying music in isolation. Also features Ellah, Rose Juam, Hagan, and Lua Preta. Edition of 300.
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