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AA 025LP
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2017 repress. Reissue of this 1981 release, featuring arrangements from Charles Reid played by Sly Dunbar (drums), Robbie Shakespeare (bass guitar), Melodice Gladdy (piano) and others.
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DUBIDCD 015LP
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Midnight rock at Channel One from the Jamaican reggae singer who worked with Linval Thompson, Sugar Minott, Bunny Lee, and more.
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SRL 1003LP
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"Phillip and Lloyd professionally known as the Blues Busters met Sam Cooke in the early 60's. They went on tour singing as the supporting act with Sam Cooke in various countries. Being so close to Sam Cooke they learnt a great deal. Sam Cooke wrote them a few songs and taught them a few techniques about singing." Tracks: "Bringing it on Home to Me," "You Send Me," "Win Your Love," "Wonderful World," "Chain Gang," "Tammy," "Nothing Can Change This Love," "Love You Most of All," "A Change Is Gonna Come."
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AADE 006LP
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Bro. Valentino, Anthony Emrold Phillip, began his illustrious career in 1961 at The Big Bamboo, a minor calypso tent in Port of Spain, Trinidad, before breaking into the professional scene in 1966 at the Lord Kitchener's Caravan calypso tent. After the Black Power revolution of 1970, he transformed into a calypsonian with a conscience and a consciousness who sang on behalf of the poor and downtrodden and was dubbed "The People's Calypsonian". His commitment to lyrics of education, elevation, and African consciousness has been his identifying badge and signature. At the end of the heady decade of the tumultuous 1970s, with the echoes of the Black Power revolution of Trinidad still strongly reverberating, Valentino penned his two most commercially successful calypso songs, 1979's "Stay Up Zimbabwe" and 1980's "Ah Wo (Brand New Revolution)" both reflections of the revolutionary spirit which had engulfed the Caribbean in the 1970s. 1979 marked the historic date of the Maurice Bishop-led Grenadian Revolution and as if to herald this auspicious event Valentino would make it all the way to the coveted national calypso monarch finals with this anti-apartheid anthem. The infectious military style rhythm and the lyrical clarion call to arms invaded the carnival/calypso season of 1979 filling the lips and boots of everyone, singing and marching to his chorus. But there was another rhythmic element, the Shango/Orisha blend, which on many an occasion at Valentino's pubic performances, would make audiences, as Trinidadians say locally, "catch the power". One year later Valentino again stunned the world with a song which reveled in the new-found fame of the Caribbean, no doubt spurned on by the very Grenadian revolution of one year earlier. "Awo" championed the new mood of the Islands. He called on the people to rally around this cause and spread the fire to the next generation. Both songs, calypso-flavored with the newly introduced soca melody of the mid 1970s, are now given a new lease of life on this record. Voted among the top 50 calypsonians of the 20th century, four of his songs have also been selected in the Top 200 calypsos of that period -- "Life Is A Stage" (1972), "Barking Dogs" (1974), "Dis Place Nice" (1975), and "Stay Up Zimbabwe" (1979) -- while his 2004 history treatise "Where Calypso Went" was selected as Calypso of the Year. Silk-screen printed cover; 140 gram turquoise vinyl.
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12"
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AD 006EP
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Throughout the '90s, DJ Bone was one of Detroit's best kept secrets. In 1996, Laurent Garnier witnessed him DJing and invited him to play Paris's Rex Club. A 12" for Juan Atkins's Metroplex soon followed, with a Peel Session, and worldwide distribution of Subject:Detroit Volume 2 (2000). Anotherday present a reissue of that legendary Metroplex 12", Riding The Thin Line, originally released in 1999. From the sweeping strings and tribal loops of "Shut The Lites Off", to the hissing bassy electro of "The Funk" and woozy techno of "The Haunting", this is DJ Bone at the peak of his powers.
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2LP
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BLACKEST 017LP
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Double LP version. With his ice-cold debut album, Pessimist delivers a defining work which represents the culmination of nearly a decade of collective research and development in underground drum'n'bass. It is hard to think of any producer, past or present, who has so skillfully and successfully bridged the sonics and sensibilities of d'n'b and techno. In fact, Pessimist makes drum'n'bass work as techno: combining the monotone, infinite-horizon quality of the latter with the rhythmic swerve and soundsystem heft of the former. Cutting edge techno-d'n'b hybrids form the backbone of this, his first LP, but there's more to it than that. Out of its relentlessly noir, paranoid, smoked-out dubscape, emerge fierce, Babylon-shall-fall jungle tear-outs ("Through The Fog"); zoned, acidic rave ("Peter Hitchens"); downtempo breakbeat excursions ("Glued"); sleek and rude "Balaklava"-esque steppers ("Spirals"); and passages of bleak, bombed-out industrial ambience. At times it feels like the missing link between British Murder Boys and Source Direct, or what might have happened if late '90s UK jungle-ists had listened more closely to Chain Reaction. The ruthless minimalism, and the tension which comes of that restraint; the swing and propulsion of the drum programming; the abyssal reverbs and long trails of delay; the deep and body-numbing sub-bass; the uncompromising palette of blacks and blues. Features Loop Faction and Overlook.
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BKEDIT 015LP
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Boomkat Editions offers the first-ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais, originally released on CD by David Sylvian's Samadhisound label in 2004. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais's self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others. Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version, allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical -- both temporal, spatial and timbral -- nature of the record's ethereal vestibules and elusive, illusory sonic specters. In remodeling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material -- dead as in hardly anyone knows or plays them in the modern age -- imbuing them with a contemporary relevance through the process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now nearly a millennia old -- so old you can't even call it classical music. Spellwauerynsherde has set a benchmark for experiments with ancient composition and computer music -- each immersion in this vinyl is akin to floating through the mists of time and will sends shivers down your spine just even thinking or writing about it, never mind listening. Spellwauerynsherde is one of the most magickal, perplexing, and strangely life-giving records that you'll ever hear. Photography by Jacqueline Roberts; Design by Michael Worthington. Lacquer cut at Dubplates & Mastering.
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BYR 002LP
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On November 17th 1961, John Coltrane played at the Granada Theatre in Walthamstow. On November 23rd, 55 years later, free jazz legend Evan Parker made this six track recording in the same space with John Russell and John Edwards. This recording has personal resonances for Evan: he attended Coltrane's performance 55 years ago at the Granada. Evan Parker: "John Russell, John Edwards and I are going to record in that same cinema. It has had the usual chequered life of classic old cinemas of the post war era in the meantime, but the resonances of that day in 1961 will be an inspiration." Beautiful cover artwork by Oliver Bancroft. Presented in a 3mm spine case.
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CT 036LP
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2017 repress. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."
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CT 3022LP
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2017 repress. "There are very few people who define a genre the way King Tubby defines dub. From the early days of dub in the 1960s, King Tubby (born Osbourne Rodduck) influenced a generation of producers across a variety of genres and continued to do so until his death in the late 1980s. While King Tubby was known for experimenting with different sounds, he was also truly never one to settle for mediocrity. Flexing his signature dub muscle on 1975's Explosive Dub, a compilation of various Tubby gems 19 tracks long, the true beauty of his ability is brought to light. It's obvious to the listener that King Tubby spent hours perfecting each track and remix before releasing it to the public. Explosive Dub, a previously hard to find collector's item is a shining example of King Tubby's work. Though many of these tracks have been previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Explosive Dub features audio mastered from the original analog tapes."
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CG 002LP
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2017 repress. Cedric Myton: lead vocal; Watty Burnett & Dedric Myton: background vocals; Fabian Cooke: drums; Tony Allen: bass; Roy Johnson & Little David: rhythm guitar; Lennox Gordon & Little David: lead guitar; Harold Butler & Owen Stewart: organ, piano; Congo, Jones, Ras Melineck, Br. Joe: percussion; Phillipe Quilchini: bass "food for the day." Originally released in 1979.
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ACV 2093LP
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Doxy present a reissue of George Russell Sextet's Ezz-thetics, originally released in 1961. The sextet features George Russell, Dave Baker, Don Ellis, Eric Dolphy, Steve Swallow, and Joe Hunt. Includes bonus track. Edition of 300 (numbered).
"With a group of musicians assembled for the occasion, pianist/composer/theorist George Russell goes into Riverside's studios in 1960 to record Ezz-thetics. Nowadays frequently found on 'greatest jazz albums' lists, this fantastic record is difficult to categorize and that's for the best. Exacerbated be-bop, modal concepts, hard bop and even hints at burgeoning free-jazz give this opus a unique and enchanting sound. Success always has many fathers. On one hand the compositions are remarkable, the four from Russell unfold with a surprising phrasing that avoids well-trodden paths. Miles Davis 'Nardis' is beautifully rearranged and Dave Baker's 'Honesty' adds a bluesy touch that doesn't hurt the overall cohesion. On the other hand you've got the soloists. Baker isn't afraid to play fast and precise on his trombone, Don Ellis displays his effects but above all Eric Dolphy who already steals the show with his alto solo on the first track. And if all that wasn't enough the album closes on one of the best version of Monk's classic ''Round Midnight' where Dolphy just dominates and proves his style also works on ballads." --AllMusic
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ACV 2094LP
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Doxy present a reissue of Clark Terry Quintet's Serenade To A Bus Seat, originally released in 1957. Jazz pioneer Clark Terry, aka "Mumbles", has been one of the most original trumpet players of his generation. In his long lasting career he has been collaborating with people of the likes of Quincy Jones, Duke Ellington, Count Basie, Charlie Barnet, and Oscar Peterson. As told by the artist himself Serenade To A Bus Seat is a kind of autobiographical album, the bus is indeed the metaphoric image of the life of the jazz orchestra in constant movement. The quintet is made of Clark Terry, Johnny Griffin, Wynton Kelly, Paul Chambers, and Philly Joe Jones. From Orrin Keepnews's original liner notes: "On this LP, Clark Terry comes into his own. It does not seem exaggeration to say that a few more like this will establish him as a truly major jazz figure." Edition of 500 (numbered).
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DOC 139LP
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Doxy present Bernard Herrmann's soundtrack for John Lee Thompson's 1962 thriller Cape Fear. Super classic score from the great Bernard Herrmann, one of the most famous American soundtrack composers known for his collaborations with director Alfred Hitchcock -- 1960's Psycho (DOC 118LP/DOP 8008LP/DOY 650LP), 1959's North By Northwest, 1956's The Man Who Knew Too Much, 1958's Vertigo (DOC 115LP/DOP 8009LP) -- and other cinema masterpieces including Citizen Kane (1941), The Day The Earth Stood Still (1951), and Taxi Driver (1976). Edition of 500.
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ET 628-09LP
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Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself. This LP brings together "not a bird" and Müller's long-time preoccupation with Richard Wagner's Das Rheingold. The piece, originally conceived as a video, consists of countless layers of Das Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards. Standard version comes in an edition of 250.
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ET 628-09LTD-LP
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Limited version. Comes with a large hand-drilled off-center hole (diameter 27mm) for additional wobbling during playback and a small bag of original "not a bird" ashes to be scattered over the LP before playing (Note: The limited version is not playable by regular means); Edition of 50 (numbered). Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself. This LP brings together "not a bird" and Müller's long-time preoccupation with Richard Wagner's Das Rheingold. The piece, originally conceived as a video, consists of countless layers of Das Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards.
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2LP
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EPR 013LP
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2017 repress. Double LP version. Transparent orange vinyl. Since they formed in 2004, Danish instrumental four-piece Causa Sui has become a much-revered act on the fertile European psych scene. The soil planted in festivals like Roadburn, Roskilde, Burg Herzberg, has been harvested with praise by Uncut, Julian Cope, and Mojo, as well as growing a dedicated fanbase -- paying top Euros for a first edition vinyl of any of the band's seven past LPs. Many psych and stoner-rock bands aim for the perfect imitation of that vintage heavy psych sound circa 1970, but Causa Sui have forged their own distinct path. Causa Sui draws on a larger pool than the usual derived exploration of Sabbath riffs and clichéd Krautrock jamming. Collaborations include members of Tortoise and Chicago Underground Collective (under the name Chicago Odense Ensemble) and Sunburned Hand Of The Man (released as Pewt'r Sessions,) and the band always adds untraditional flavors, past and present, into their seething experimental sound. Causa Sui has been described as "the sound of a giant wave rolling up through the last four decades of rock," which is truer than ever for their most ambitious album to date, Euporie Tide. Yes, the heavy riffs are certainly here, but it's apparent that it does not tread the waters of retro rock. There's a different depth here. Whereas previous albums were brewed with spontaneity, and flickers of complete improv, Euporie Tide was meticulously perfected over years of work. Opening track "Homage" pays tribute to the early/mid-1990s American grunge and stoner-rock bands the band grew up with. From that point of departure, Causa Sui goes on to weave a rich and complex textile, with threads coming from early 1970s electric jazz, post-rock, exotica, heavy rock, raga, and all kinds of psychedelia. Whether the band goes for straight-up rock or ventures into freeform territory, there's always that certain warmth and atmosphere present, which is so characteristic for Causa Sui. When one reaches the multigenre-influenced grooves on the album's D-side, it's obvious that the band has arrived at something that is very relevant in the present day. The album was recorded and produced by Jonas Munk, crafting a sound that is simultaneously naturalistic in approach, yet strangely detailed. The album was mastered in a way as to maintain the full dynamic range of the recordings.
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2LP
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FAITBACK 001LP
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Repressed. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).
"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press
"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM
"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM
"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire
"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork
"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME
"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ
"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ
"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat
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GRA 003LTD-LP
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Squadra Omega represents the vast spectrum of the Italian underground. Psychedelic, avant-garde, jazz-rock, improvisation, kraut-rock, rock in opposition, and ethno-tribalism blend seamlessly into the work of a collective that moves and expands, depending on the urgency of the moment, focused around a core that rotates around the two members OmegaMatt and OmegaG8. In the band's wide discography, you'll find compositional freedom, improvised jam-sessions, and an amplitude of references, all of which move between different spaces and times. Materia Oscura ("dark matter") offers a glimpse at the same time the soil of the "rock" matter as well as the alien, seen from multiple points of view, neighbors, and materials, distant and mysterious. Three tracks that stretch their eyes at the Orient or Africa, as well as into the depths of the cosmos, landing on the side of the art-rock of the '70s and towards some psychedelic, visionary, cinematic drives that explode into a real ecstatic trip. Inputs from Coltrane, Canterburian jazz-rock, Grateful Dead, and synthy-space views are melted into free-form landings until they discover their own personal form of prog. Different universes collide and coexist in the band in a constant mutation, maintaining faith in one single ideal: "music for the third eye". The album comes in a thick carton cover and with a central hole, limited edition pressing on green vinyl.
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HPS 057CD
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Heavy Psych Sounds present the second volume of N.O. Hits At All, featuring Nick Oliveri in various bands. Volume Two features The Dwarves, Royale Daemons, Turbonegro, The You Know Who, Kyuss, and Lightnin' Woodcock. Oliveri on the album: "This record you are holding is Volume Two of a series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sang and/or recorded bass on 50+ releases of bands I love and had the great honor to work with -- (Dwarves, Mondo Generator, Svetlanas, Queens Of The Stone Age, Kyuss, Bl'ast, Bloodclot, Masters Of Reality, Vista Chino, Mark Lanegan Band, Turbonegro, Death Acoustic, The Uncontrollable) to name a few. The good folks at Heavy Psych Sounds Records are releasing a series called -- N.O. Hits At All. Now for the first time, all these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now."
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HPS 057LP
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LP version. Heavy Psych Sounds present the second volume of N.O. Hits At All, featuring Nick Oliveri in various bands. Volume Two features The Dwarves, Royale Daemons, Turbonegro, The You Know Who, Kyuss, and Lightnin' Woodcock. Oliveri on the album: "This record you are holding is Volume Two of a series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sang and/or recorded bass on 50+ releases of bands I love and had the great honor to work with -- (Dwarves, Mondo Generator, Svetlanas, Queens Of The Stone Age, Kyuss, Bl'ast, Bloodclot, Masters Of Reality, Vista Chino, Mark Lanegan Band, Turbonegro, Death Acoustic, The Uncontrollable) to name a few. The good folks at Heavy Psych Sounds Records are releasing a series called -- N.O. Hits At All. Now for the first time, all these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now."
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HPS 057LTD-LP
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LP version. Limited edition color vinyl. Heavy Psych Sounds present the second volume of N.O. Hits At All, featuring Nick Oliveri in various bands. Volume Two features The Dwarves, Royale Daemons, Turbonegro, The You Know Who, Kyuss, and Lightnin' Woodcock. Oliveri on the album: "This record you are holding is Volume Two of a series of compilations in which I recorded the vocals. Bands that I like and bands that like my singing voice enough to have asked me to 'guest vocal' on a song for their records. Some of these have been released and some have not until now. I have sang and/or recorded bass on 50+ releases of bands I love and had the great honor to work with -- (Dwarves, Mondo Generator, Svetlanas, Queens Of The Stone Age, Kyuss, Bl'ast, Bloodclot, Masters Of Reality, Vista Chino, Mark Lanegan Band, Turbonegro, Death Acoustic, The Uncontrollable) to name a few. The good folks at Heavy Psych Sounds Records are releasing a series called -- N.O. Hits At All. Now for the first time, all these songs and bands I've recorded with over the past 25 years are together and available to you to trip out on. So get your head right and put this record on and play it loud. That is all for now."
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HOS 334LP
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This is the second in a reissue series of Dominick Fernow's early work as Rainforest Spiritual Enslavement, casting spells from the Green Amulet Crafts Supernatural Qualities (2011) tape onto vinyl for the first time and steadily closing the gap in your Rainforest Spiritual Enslavement collection. Something like the soundtrack to one of Ballard's prophetic visions of sunken cities, this second RSE incursion was initially released in an edition of 63 tapes in 2011 and found Fernow dwelling in a dread-fueled, paranoid headspace. Aesthetically, it forms an oblique inversion of Prurient's saturated noise assaults or a sort of chopped-and-screwed adjunct to Vatican Shadow, perhaps best located closest to his Force Publique Congo output, but with fathoms more negative space and those full sunken sub bass charges. "A Slave Boy That Died An Awful Death For Not Keepng His Owner's Horses. He Helps People Who Are Looking For Lost Things." fills the A side, pinpointing a location that could easily be an overgrown traffic island as some Nigerian mangroves in oil country, overrun by local scallies or machete wielding pirates, both scared witless, who could well be the B side's "An Old Hag That Wears Shoes And Stomps Over People's Stomachs At Night Making Them Breathless.", as is common to local legends of Manchester's southern edgelands and the Niger Delta. Thanks to Paul Corley's sensitive remaster and Dubplates & Mastering's lacquer cut, the sub bass has been perfectly translated to the vinyl for total immersion, sounding stronger, wider than the tape or digital versions ever did, and in the process rendering RSE's magick at its most tangible. Ask many Fernow/Prurient/Vatican Shadow fiends and they'll likely cosign -- this is some of the dankest, most precious work in Fernow's sprawling catalog. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell's Fourth World (1980). Edition of 500.
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LP
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IDA 004LP
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Ici D'ailleurs present a reissue of Bästard's Radiant, Discharged, Crossed-Off, originally released in 1996 on Semantic. First Deity Guns, then Bästard, and currently Zëro -- the name doesn't really matter, all of Eric Aldéa's projects had an important role among the French no-wave, avant-rock, underground music. Ici D'Ailleurs go back to the '90s with two Aldéa related reissues with Deity Guns' 1993 album Trans Lines Appointment (IDA 124LP) and Radiant, Discharged, Crossed-Off, presented here. Two essential pieces of music that can be considered as pioneer albums of the "post", "indie", "noise", "math" rock scene. Includes download card.
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2LP
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IDA 027LP
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Ici D'ailleurs present a reissue of Matt Elliot's Drinking Songs, originally released in 2004. Comes in a reverse cardboard gatefold with printed inner-sleeves and a download card.
"Forget 24 hour bingeing, raucous antisocial behaviour, even the gin-soaked balladry of The Band of Holy Joy or the likes of Eazy E, The Beastie Boys and Schooly D singing the praises of their favourite brew. Matt Elliott emerges shyly from the shadows of Third Eye Foundation alias to celebrate the drowning of sorrows rather than the exuberant pissing away of our leisure hours, Introspective and alone, breathing in the fumes of some neglected cellar, his drinking songs withdraw themselves not simply from polite society but from all society. How else can one dream or contemplate what might have been? Opener 'CF Bundy' has a woozy charm. Evenly paced and alive with the strumming of acoustic guitars, it sets the mood for what is to come. Evoking the regrets and indiscretions of a bygone age, one grown sick and enfeebled by fantasies, 'Trying To Explain', 'The Guilty Party' and 'What's Wrong' would all seem to be taking place in a world teetering on the edge of some great fall or cataclysm. 'What The Fuck Am I Doing On This Battlefield?' and 'A Waste of Blood' are both moments of rude awakening. As a coda and extended finale, the 20 minute 'The Maid We Messed' sees Elliott returning to the wordplay and hypervelocity breaks of his Third Eye Foundation recordings. Overall, however, Drinking Songs remains a work to be listened to with eyes closed -- it's about the only way you can keep the room from spinning." --Ken Hollings, The Wire, April 2005.
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