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LP
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AUK 009LP
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2019 black vinyl repress, Originally released in 1996 and now reissued on A Recordings, Anton Newcombe's own record label. Released on 180 gram black vinyl. Taken from the original vinyl release with the original tracks & re-cut at Abbey Road.
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2LP
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AUK 011LP
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2019 repress, black vinyl. Gatefold 2LP version on 180 gram vinyl. 2013 release. This is the first Brian Jonestown Massacre album in over four years, recorded with select members from the Brian Jonestown Massacre, Icelandic musicians, and Mark Gardener (Ride). Recorded in Liverpool and Reykjavik in August 2007 and completed in Reykjavik in October 2007. This is the 13th full-length album from the Brian Jonestown Massacre released on Anton's label, A Recordings. This album offers a mix of the traditional Brian Jonestown Massacre sound with a more experimental and avant-garde approach. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many L.A. and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.
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AC 8087LP
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Françoise Hardy, live at L'Olympia, Paris, France; 1963-1965. This remarkable collection of live performances, originally broadcast on French Radio Europe 1's "Musicorama" Special, between 1963 and 1965, captures the iconic Françoise Hardy in her early prime. It includes many of her best-known songs, and confirms her position at the vanguard of contemporary yé-yé singers. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with background notes and images. The entire original French Radio Europe 1 broadcast is presented here, professionally remastered, together with comments by Jean-Claude Brialy, background notes, and images.
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CD
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BBCD 031CD
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2015 release. Four years after Massive Liquidity (BBCD 014CD), New York poet Steve Dalachinsky and French duo The Snobs are coming back with a second collaborative record called ec(H)o - system on Bam Balam Records. Since the eighties, Dalachinsky has published poems inspired by William Blake, Antonin Artaud, and the beat generation. Using some of them on stage, he often performs with jazz musicians. Words become material for improvisation -- both sonic (onomatopoeias, theatrical intonations) and narrative -- mixing the poems and structuring them instinctively. Founded near Paris by Mad Rabbit (singer and producer) and Duck Feeling (multi-instrumentalist), the Snobs have self-produced experimental rock records since 2003 under the influence of Can's instant compositions, David Bowie and Brian Eno's synthetic textures and electric-era Miles Davis grooves. ec(H)o - system takes Massive Liquidity's creative process a step further. The Snobs recorded some riffs and beats for Dalachinsky to hear and perform some poems over them, while in Paris in September 2014. In one afternoon -- first-takes only -- he added his voice to the music ("near death in a concrete plant / language is an organism" and "the rape / particle fever") and performed a series of other poems without music that inspired new instrumental pieces to Rabbit and Feeling during the next months. Lots of overdubs helped shaping the pieces, accompanying the voice and interplaying. The result is a mix between the poet's spontaneity and The Snobs' psychedelic postproduction. From crazy onomatopoeias on "Near Death In A Concrete Plant" to the restrained elegance of "A Promise Is A Promise", Dalachinsky shows great expressiveness -- serious, ecstatic, mad -- and influences the music's ambitious developments. Choosing electronic sounds to compose -- beats programming, synthesizers sequences and chords -- The Snobs are willing to add some noisy guitar, romantic piano, free saxophone, and funky bass here and there. With three musical suites divided in eight poetic segments, ec(H)o - system is the sound of mutual listening and trust between Steve Dalachinsky and The Snobs. Cover art by poet and painter Yuko Otomo. Includes 44-page booklet containing all Dalachinsky's poems used for the record and a selection of his collages.
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BBCD 056CD
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Founded near Paris by Mad Rabbit (singer and producer) and Duck Feeling (multi-instrumentalist), The Snobs have produced experimental rock records since 2003. After two collaborative albums with New York poet Steve Dalachinsky (BBCD 031CD, 2019) the French duo is coming back with A Life Aglow. Full of analog synthesizers, Rickenbackers, pianos, sitars, and Mellotrons, this new album is a psychedelic journey loaded with colorful influence.
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BBLP 058LP
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At the crossroad between krautrock and psychedelia... Wigwam is the new Signs Of The Silhouette project which presents an exploration of a new phenomenological aesthetics based in a contained potency of sound and ambiance featuring the guitar of Acid Mothers Temple's Makoto Kawabata. Founded in 2012 by Jorge Nuno (guitar), João Paulo Entrezede, and Miguel Cravo (conceptual art and vídeo projections visuals), the band now has a new member: André Calvário (bass). Signs Of The Silhouette translates ontological ambiances into a paraphernalia of psychedelia, trance drone distortion, and clean rock n' roll meditation.
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BBLP 061LP
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One of the greatest Japanese psychedelic bands, Acid Mothers Temple & The Melting Paraiso U.F.O. Sacred And Inviolable Phase Shift is in another league from the others. There's a distinct Canterbury/Gong/Can feel about it, with everything that you'd hope from AMT. Acid Mothers Temple & The Melting Paraiso U.F.O. as of 2019: Kawabata Makoto - guitar, synthesizer, speed guru; HIgashi Hiroshi - synthesizer, noodle god; Jyonson Tsu - vocal, guitar, bouzouki; Satoshima Nani - drums, another dimension; Wolf - bass, space & time.
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LP
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BEC 5772894
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2019 repress. Metronomy present their third album The English Riviera. The follow up to 2008's critically-acclaimed Nights Out, The English Riviera is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent. Since Nights Out, the band have swollen to a four-piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks. Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalized vision of The English Riviera, the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of "We Broke Free" shudders and ushers in waves of layered guitars and synths. Having produced and remixed everyone from Roots Manuva to Kate Nash an album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling. Characterized throughout with a sense of warmth and richness, The English Riviera is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time. Few other albums will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.
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BT 046LP
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Patience Soup presents the entirety of a live performance from the trio of Oren Ambarchi, Jim O'Rourke, and Japanese underground legend Phew that took place at the Kitakyushu Performing Arts Center on November 4th, 2015. Known to many listeners outside Japan primarily for her early collaborations with members of Can, Phew has been undergoing something of a creative renaissance in the last few years, prolifically recording and releasing a body of work that strips away the band arrangements present on most of her past releases to focus solely on her raw DIY electronics and possessed vocal stylings. Forming a perfect companion to 2017's well-received Voice Hardcore, a series of pieces composed of only her processed voice that saw Phew push her work into the most abstract terrain yet, Patience Soup finds the trio inhabiting an uneasy landscape of moans, howls, and smeared electronic sonorities. Presented in atmosphere-enhancing room fidelity, the set begins in crunching textural abstraction and Phew's vocal asides, set against a backdrop of Ambarchi's shimmering Leslie-cabinet guitar tones and O'Rourke's synthetic slivers. A testament to the risk-taking prowess of these three master improvisers, the performance moves organically from ecstatic crescendos powered by Phew's processed wails to moments of near-silence in which a translucent veil of lingering electronic tones is gently punctuated by O'Rourke's chiming piano chords. Constantly shifting, both harmonically and dynamically, Patience Soup is suffused throughout with a haunted energy and shows these three established figures continuing to venture out into uncharted territory. Presented in a deluxe sleeve with stunning images by Traianos Pakioufakis and an inner sleeve with live pics from Mike Kubeck. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
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BLUME 013LP
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Blume present the first vinyl reissue of Alvin Curran's Canti Illuminati, originally released in 1982. Between diverse polarities of experimental practice, from free improvisation and modern classical composition, to primitivism, electronic music, and extended techniques, for more than half a century Alvin Curran has stood as beacon in the landscape of organized sound. From his efforts within Musica Elettronica Viva, the collective which he helped found in 1966 with Frederic Rzewski and Richard Teitelbaum, to those as a solo-performer and composer, his sounds and ideas have effected immeasurable change. Canti Illuminati, composed and recorded between 1973 and 1977, stands as one of the great documents from the golden era of Curran's singular brand of creative radicalism -- combining a deep sense of social and political consciousness, with creative humanism and visionary compositional ideas. A bridge between the American and European traditions of experimental music, Canti Illuminati is Curran's tribute to the human voice, "the most natural source of music", and it delves toward the very origins of music itself. In lyrical and poetic form, it rethinks the possibilities and potential of organized sound, seeking something fundamentally human. Standing apart from canonical definition, it contributes to a more complex and nuanced understanding of minimalism. Consciously conceived by Curran for the format of the LP, the album takes form as a single work in two parts: "Canti Illuminati [For Choir, Synthesizer, Piano And Tape]", a structured choral improvisation, built from the contributions and voices of Alessandro Bruno, Antonella Talamonti, Antonio Cesareni, David Thorner, Elisabetta Bordes-Page, Giorgio Caruano, Luca Miti, Manuela Garroni, Nicola Bernardini, Pierluigi Castellano, and Sista Carandini; and "Canti Illuminati [For Voice, Synthesizer, Tape]", which Curran realized as a solo performer with his own voice, tape-delayed feedback, and a Serge synthesizer and sequencer. Sinfully under celebrated and all too rarely heard since its initial release, Canti Illuminati remains a profoundly compelling and moving body of sound. a landscape of sustained tone, rippling texture, and structural intervention. Necessity stripped to the elemental, while challenging, endlessly surprising, and complex. Brand new, expanded liner text written by Bradford Bailey. Fully remastered by Giuseppe Ielasi.
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BLUME 014LP
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It's little wonder that Julius Eastman (who died in 1990 under unexplained circumstances), remained the supreme underground composer. He was Afro-American and gay, a composer who rocked the cerebral world of process music with his explosions of free improvisation. Crazy Nigger is the first time any of Eastman's music has been available on vinyl, and is one of three extended pieces for four pianos, along with Gay Guerrilla and Evil Nigger, written and performed around 1980. All three works generate their epic soundscapes through adamantly restated patterns and interlocking canons, not fragmenting, but preaching urgent truths. To quote the brilliant Mary Jane Leach liners: "He wrote what can be categorized as minimal music, but also wrote 'post-minimal' music -- before minimal music was fully established." His pieces straddle both styles of minimal music; rhythmic/pulse-driven music (Steve Reich and Philip Glass) and spectral drone music (La Monte Young and Phill Niblock). There is a flexibility that lends an organic feel to his music, a muscularity missing in a lot of other music from that time; with the re-emergence of this powerful music, a missing gap in the history of contemporary music has been filled. Not released commercially upon their recording, they were instead shared on cassettes, copied and passed from one admirer to another. Unlike today's instant access to music, at that time each new copy represented a time commitment, since it took as long to copy as its playing time, while also removing itself further from the original recording with a resultant deterioration in sound quality. The three pieces occupy a high point in Eastman's oeuvre, the culmination of his mature style. Crazy Nigger is a sprawling sonic study, the last section exploring canonic form both harmonically and rhythmically, using the same process as James Tenney's Spectral Canon, but notated in a more intuitive way. Offering extensive liner notes by Leach and Bradford Bailey, this is a seminal work by one of the most important, but neglected, American composers of the 1970s and '80s, returning to the light once more. Not only is Crazy Nigger an entire rethinking of minimalism, but it ferociously blows the doors of what classical music can be seen to be. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus obi-style original insert in a fold-out outer sleeve. 180 gram, color vinyl.
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BLUME 015LP
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Julius Eastman's seminal classics are now reissued on vinyl for the first time ever. Gay Guerrilla and Evil Nigger, both composed in 1979 with a third work Crazy Nigger, make up what Eastman called The Nigger Series. Some of the most challenging and beautiful works composed for piano during their era, they double as a window into the intricate thought process and contentiousness of their creator. When the composer was asked to perform the series at Northwestern University in 1980, due to protests by African American students, their titles were censored in the event's program. His response was a flamboyant foreshadowing of the sentiments toward bigoted language which later arose within hip-hop culture -- to publicly take back these words, assert ownership of them, and deploy their power for positive change. What Eastman was early to recognize, was that there is a fundamental difference in what happens when these words are spoken by white people toward people of color, and when people of color deploy them toward a white audience. The balance of power shifts. Eastman's audience was largely heterosexual and white. He knew exactly what he was doing, and to whom he spoke. The object in your hands contains some of the most striking and important music composed during the later decades of the 20th century -- music which remained lost and unheard for years, not because of what it is, but because of who its composer was. It is music, doubling as the voice of a man, which, because it refused to be oppressed, was suppressed or ignored. Eastman's work is a conscious act of intervention, plowing into a context defined by heterosexual whiteness, attacking its unjust demands from within. It is Christ-like -- metaphor and beauty which is impossible to separate from the evils of the world. It is a music which carries the body of a man. As it speaks to our hearts, as it offers a glimpse of the freedoms implied by the sublime, a shackle is bound -- a consciousness of our complicity with unforgivable sin. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as obi; Housed in a fold-out outer sleeve. 180 gram, color vinyl.
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LP
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BSR 917LP
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"Spacey and pleasant dub companion to Junior Soul's Sings For The People now reissued on vinyl. Originally released in 1978, Soul Dub Man features dub versions of 'Three Times A Lady,' 'Help Me Make It Through The Night' and more."
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CD
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CVSD 039CD
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Repressed; Corbett Vs. Dempsey present a reissue of Sun Ra Discipline 27-II, originally released on El Saturn Records in 1973. Arguably the last great original-era Saturn LP to be reissued on CD, Discipline 27-II has long deserved to be more familiar to Sun Ra fans and layfolk alike. Recorded during the same sessions in 1972 at Chicago's Streeterville Studios that produced Ra's most popular and best-known record, Space Is The Place (1973), it's got much the same vibe, from the 24-minute four-part suite of the title track -- an important conducted piece that Ra performed frequently in these years -- to the opening cut, "Pan Afro", with John Gilmore's sensational tenor work. Sporting a percussion-rich 18-piece Arkestra, the music can be thick, voluble, and dense or it can winnow down to a small group, as on the delightful track "Neptune", a vehicle for June Tyson's singing and the site of the indelible Sun Ra space chant: "Have you heard the latest news from Neptune, Neptune, Neptune?" This marks the first time Discipline 27-II has been reissued on CD. It has been remastered from the original tapes, includes a never published period photo of Ra by Charles Shabacon, and ends with an explosive bonus track from the same session, showing quite a different side of the same ensemble. Personnel: Sun Ra - electronic keyboard space age instruments, Moog synthesizer, vocals; John Gilmore - tenor saxophone, percussion, vocals; Marshall Allen - alto saxophone, flute; Danny Davis - alto saxophone, flute; Pat Patrick - baritone saxophone, bass; Danny Thompson - baritone saxophone, flute; Eloe Omoe - bass clarinet, flute; Akh Tal Ebah - trumpet, flugelhorn, vocals; Lamont Kwamie McClamb - trumpet, percussion; Russell Branch - percussion, congas; Stanley Morgan - percussion, congas; with Alzo Wright, Harry Richards, Lex Humphries, Robert Underwood on drums and vocals by June Tyson, Cheryl Banks, Judith Holton, and Ruth Wright. Cover art by LeRoy Butler; cover design by Alton Abraham. Recorded by Ed Michel at Streeterville Studios, Chicago, October, 1972; LP produced by Alton Abraham for Infinity Inc.
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RED 229C-LP
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2019 repress. Ennio Morricone's legendary soundtrack for the 1968 film Il grande silenzio (The Great Silence), directed by Sergio Corbucci and starring Jean-Louis Trintignant and Klaus Kinski. This melancholic, emotive score, deeply moving and as cold as the snow-covered landscape of the film (an unusual stylistic choice for a Western), is considered one of the best Western works by Morricone since his collaborations with Sergio Leone for the classic Dollars Trilogy and Once Upon a Time in the West. First vinyl reissue. Double-colored vinyl.
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CD
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DCLP 006CD
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Another true masterpiece. A Mid Autumn Night's Dream faithfully report a one-shot concert that took place at Conservatorio Nicolini in Piacenza on October 1st, 2016. The four giants of new music never played together before: Keith Tippett, Julie Tippetts, Lino Capra Vaccina, and Paolo Tofani. As the lights turned off something magic started. A spontaneous interplay, an amazing flowing of notes. The subject was the night, its mystic flavors. Paolo Tofani, now a Hindi monk, is a living legend in Italian avantgarde music having been the driving force of the band Area in the seventies. He worked and recorded with many musicians including John Cage, Alvin Curran, Steve Lacy, just to mention a few. His last album, Real Essence (2015), an acoustic solo album, impressed the late Greg Lake who eventually wrote the liner notes. Lino Capra Vaccina provided the visionary sound of the seminal Italian ensemble Aktuala then formed the legendary Telaio Magnetico with Franco Battiato and Juri Camisasca, and later played percussion in La Scala Orchestra with Claudio Abbado. In Italy he is a true legend and a respected musician. His first solo album, Antico Adagio (DS 027-1LP/027CD) along with his last one Metafisiche del Suono (DCLP 002CD/LP), are considered amongst the very best avant garde albums ever. Keith Tippett is another living legend in British jazz music -- band leader, composer, and visionary pianist -- with an uncompromising career full of outstanding gems. A larger audience knows him as a member of King Crimson or the leader of Centipede. His skills go from contemporary jazz to larger compositions for orchestra and classical music as well. One of his latest piano solo album, Mujician IV live in Piacenza, has been critically acclaimed all over the world. Julie Tippetts lent her fantastic voice to various situations, many times side by side with her husband Keith. The team called one of their duo album, Couple in Spirit (1988), as they are in life and art. Julie is a fantastic musician who added a magic touch, a siren call to this masterpiece.
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DCLP 008CD
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Vincenzo Ramaglia is a Roman composer active in contemporary music experimentation and in what he calls PEM ("popular experimental music"). After the academic training -- at the end of which he won the TIM (Tournoi International de Musique) with an orchestral work -- his music research insinuates itself into the alchemy between score and improvisation, between electronics, acoustic instruments (often investigated in their extended techniques) and voice. Atomic City is the fourth album by Vincenzo Ramaglia, landing of a long research path that begins more than ten years earlier and it is marked by the three recording projects before this unexpected electronic turn. In 2007, Michele Coralli of Blow Up defined his first CD, Formaldeide as a "place of impossible meeting between Coleman Hawkins and Salvatore Sciarrino." Regarding the second CD, Chimera (2008), Max Marchini of Rockerilla called the album "an admirable interface at the zenith of the starry sky of intelligent and improvised jazz and new contemporary music." PVC Smoking (2011), his third CD, is an IDM score with improvisations, combining electronics and acoustic instruments. After seven years of reflection, silence, construction, and deepening of an electronic setup without a computer, Atomic City is a surprise, an album finally naked, devoid of any score, but with an intricate maze of analog sequences, composed on the machines as on a pentagram, almost in a thoughtful orchestral counterpoint, and manipulated in real time by the author, to which Renato Ciunfrini reacts to with clarinet improvisations. In a sense, Atomic City is the promised land of all the peregrinations and breaks that precede it. The synthesis - unexpectedly coherent and explosive in his unprecedented language - of a vast collection of seemingly contradictory urgencies. And it is, in fact, popular experimental music.
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DCLP 009CD
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Dark Companion label head Max Marchini on Hamdelaneh Intimate Dialogues (January 2019): "Another true masterpiece from Dark Companion Records. I met Markus Stockhausen after inviting him and his wife to 'Musiche Nuove In Piacenza' festival in autumn 2018. Immediately I felt a strong empathy towards him. That doesn't happen very often. I knew his work and had always admired it, especially the spontaneous compositions he performs and the way his unique talent blossoms in these situations. We talked at lunch and I dared propose to him to record an album for our small Dark Companion label. The dream came true when Markus, after a few minutes in silence, phoned Alireza and suggested he be a special guest at our concert that very same evening. After some thought he kindly agreed. Alireza soon arrived in Piacenza and I had the opportunity to get to know one of the most charming and kind persons in the world. And an extraordinary musician -- a master of the old Persian santoor, an instrument of many voices that sings like an angelic choir under Alireza's hammers. When they performed the third and last movement of the concert, the audience was mesmerized, and so was I. Once more, the Magic Fairy was with us. Sometimes it happens, sometimes not. I saw someone in tears when Markus started to sing a sort of mystic, ancestral chorus with the audience. The music in this album is absolutely new but within it breathes a very ancient, sunken soul, a hidden root. Alireza and Markus were so kind as to give me this beautiful recording they made in Italy three years ago. I also have to thank Simon Stockhausen, Markus's brother, who mixed and mastered this album with a state-of-the-art quality. I am very proud to now have Markus and Alireza in our catalog and I hope this album may give you the same intimate, graceful, peaceful atmosphere these musicians have given me. The meaning of Hamdelaneh is 'with the same heart'."
Personnel: Markus Stockhausen - trumpet, flugelhorn, piccolo trumpet, voice; Alireza Mortazavi - santoor. CD version comes in a gold paper sleeve; Edition of 500 (hand-numbered).
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DCLP 009LP
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LP version. Gatefold sleeve; edition of 500 (hand-numbered). Dark Companion label head Max Marchini on Hamdelaneh Intimate Dialogues (January 2019): "Another true masterpiece from Dark Companion Records. I met Markus Stockhausen after inviting him and his wife to 'Musiche Nuove In Piacenza' festival in autumn 2018. Immediately I felt a strong empathy towards him. That doesn't happen very often. I knew his work and had always admired it, especially the spontaneous compositions he performs and the way his unique talent blossoms in these situations. We talked at lunch and I dared propose to him to record an album for our small Dark Companion label. The dream came true when Markus, after a few minutes in silence, phoned Alireza and suggested he be a special guest at our concert that very same evening. After some thought he kindly agreed. Alireza soon arrived in Piacenza and I had the opportunity to get to know one of the most charming and kind persons in the world. And an extraordinary musician -- a master of the old Persian santoor, an instrument of many voices that sings like an angelic choir under Alireza's hammers. When they performed the third and last movement of the concert, the audience was mesmerized, and so was I. Once more, the Magic Fairy was with us. Sometimes it happens, sometimes not. I saw someone in tears when Markus started to sing a sort of mystic, ancestral chorus with the audience. The music in this album is absolutely new but within it breathes a very ancient, sunken soul, a hidden root. Alireza and Markus were so kind as to give me this beautiful recording they made in Italy three years ago. I also have to thank Simon Stockhausen, Markus's brother, who mixed and mastered this album with a state-of-the-art quality. I am very proud to now have Markus and Alireza in our catalog and I hope this album may give you the same intimate, graceful, peaceful atmosphere these musicians have given me. The meaning of Hamdelaneh is 'with the same heart'."
Personnel: Markus Stockhausen - trumpet, flugelhorn, piccolo trumpet, voice; Alireza Mortazavi - santoor.
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12"
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DEGU 030EP
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Second chapter of Ditongo's Editales series with the carefree "Copacabana" on the yellow side and the gloomy "International" in blue on the flip side.
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DJ 010LP
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After seven years of label making, Dorfjungs says goodbye with a final, various artists collection. GroupWorks mixes improvised vocal jazz and tropical ambient with sweet pop music, bad-tampered hip-hop and pitched-down techno tracks. Dorfjungs thanks all their friends, fans, and collaborators. Features Hanna Schörken, Lucky Charmz & Devotion, ~, Aztlan Fm, Marvin Horsch, Assam Jr., Paul Trachtenberg, TULIPS, Becks Karamell, VIBA, Der Kleine Herr Jakob, Jiyun Park, Antonia Alessia Virginia Beeskow, Huyghend, and Philipp Lack. Edition of 300.
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DOME 001LP
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With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July 1980), Dome 2 (October 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Now available as standalone LP; Includes download card. New artwork by Dave Coppenhall. B.C. Gilbert: voices, guitars, bass, percussion, tapes, drums; G. Lewis: voices, guitars, bass, percussion, tapes, synthesizer; A.M.C. - voice on "Cruel When Complete". Recorded on March 10th & 16th, 1980 and April 1st, 1980; Produced by B.C. Gilbert and G. Lewis; Engineer - Eric Radcliffe; Asst. engineer - John Fryer; Floating-point re-master by Russell Haswell, August 2011; Cut at Dubplates & Mastering by Rashad Becker, August 2011.
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FAUXPAS 030LP
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Cologne is Danny Lane and Vasilios Manoudakis -- a photographer and a ship captain who make songs together. Vasilios works as a boat's captain in New York while Danny stays landlocked, producing tracks and hustling work as a photographer/actor in Los Angeles. The two communicate with one another through music, sending loops and snippets from wherever they happen to be, independently writing pieces of songs that smoothly snap into place. Throughout this, the two share a thing for synths and classic pop, creating songs that are warm, relaxed, and inescapably catchy. Though their influences range from '80s dance music to minimal house and ambient music, they see Cologne as something new and have a very pure idea of success: "If people like it, we are happy."
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12"
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FEINES 014EP
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Carrot Green from Rio de Janeiro is a very nice guy. Actually you can hear that in his music -- he has been providing beautiful world styles combined with classic electronic elements in a very unique way for many years. The Kin Sharuba EP contains an acid-driven original tune and another one called "Orientação Espacial", which is more relaxed. Remix delivery successfully made by Dengue Dengue Dengue from Lima and Comemé's Christian S.
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LP
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OF1C1
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In the cracks that sprawl between electronic and analog music, visual art, and craft creation, Yamila dances on the edge of sound and conceptual heights. The Spanish composer, cellist, singer, and producer is based between Belgium, Holland, and Spain. In recent years, Yamila has created music for contemporary dance productions in places such as The Gothenburg Opera, Netherlands Dans Theater, and Dance Forum Taipei, among others. Her projects have been presented at festivals such as Sonic Acts Festival (Amsterdam), Arts Electronica (Linz), Seoul International Computer Music Festival, STRP Festival (Eindhoven), and Today's Art Festival (The Hague), to name a few. With Iras Fajro on Forbidden Colours, her debut album, Yamila summons in 11 songs the strength of electronic sounds in front of a fragile voice that at times unfolds in small coral clusters. The brilliant electronic arpeggios and rhythms dissolve in the velvety voices of the cello, which are sometimes intertwined with the creations of two collaborators, the British producer and composer Clark and the multifaceted ex-flamenco Niño de Elche. 180 gram vinyl; includes download card. "My love wears forbidden colours, My life believes / My love wears forbidden colours, My life believes in you once again."
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