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viewing 1 To 25 of 117 items
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4M 5253LP
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"Released less than a year after The Idiot, Lust For Life is a return to the sloppy, sleazy, blues-y, swagger of the Stooges. Though the record is, again produced by David Bowie, he takes much more of a back seat musically, allowing for Iggy Pop to take center stage in his return to form. His best solo album and an absolute classic from this legend. Limited edition of 1,000 on red vinyl."
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ACOLOUR 007LP
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Sublime compilation of long-lost Australian indie-pop, acoustic jangle, and beat happenings gathered by Melbourne-based collector and DJ Bayu and label head Moopie. Twelve tracks of singular vision spanning up- and down-beat pop, post-punk, and minimal synth rarities recorded between 1982 to present day. Australian twee pop royalty The Cat's Miaow shares the stage with The Cannanes and The Particles; Ya Ya Choral with Sarah Records' own Even As We Speak. Includes the previously unreleased "Dot" by Mutant Sounds cult band Maestros And Dipsos. Also features The Ampersands, Pearly Gatecrashers, Bart & Friends, Love Positions, Shapiros, and Hydroplane. Full-color, reverse-card sleeve with printed insert and lyrics sheet.
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AUK 030LP
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2017 repress. 180 gram double LP version, now on black vinyl (for the first time). Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin. It is the 14th full-length release from The Brian Jonestown Massacre, recorded from late 2012 to early 2014. Anton Newcombe refined the 13 tracks that appear on the album, which also features Ricky Maymi, an original member of the band. It also features Joachim Alhund (Les Big Byrds), Constantine Karlis (Dimmer), and Ryan Van Kriedt (Asteroid #4) plus vocal performances in Swedish by Joachim Alhund (Les Big Byrds) on the opening track. This album brings the traditional Brian Jonestown Massacre sound mixed with Eastern influences and brings it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.
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AKU 1007CD
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A fascinating immersion in the heart of a funeral ceremony live recorded in Bali, where gongs, cymbals, and drums give rhythm to the bewitching atmosphere of this mortuary procession. The international audience's interest into Balinese music and its gamelan orchestras dates back to the edition of large ethnographic series in the 1950s, '60s, and '70s which largely encouraged the discovery of this music beyond Indonesia's borders. Taking advantage of a more advanced technology, compared to the vinyl golden era, the present field recordings produced in 2011 render, at the closest, the power of gamelans. Gamelan is presented here in two forms. The first one (tracks 1 to 4) offers a display of Beleganjur music out of the ritual context, which can be differentiated by a more melodic form and a more dramatic and hypnotic aspect in the compositions. The second one (tracks 5 to 9) presents the Beleganjur style in the ceremonial context of the Ngaben funerary rite in the village of Peliatan. The utmost vitality of these orchestras springs out throughout the different stages of these funerals, and the sound environment surrounding the musicians immerse the listener in the very heart of the procession following the corpse. With The Gamelan Of The Walking Warriors, Akuphone carries on its exploration of ritual and ceremonial music with those materials of rare intensity. These recordings were collected by Vincenzo Della Ratta, PhD in Ethnomusicology from the Sapienza University (Rome). As a specialist of the gongs music from the Austronesian cultures of Southeast Asia, Della Ratta is the author of numerous articles on the subject. His field researches have already been edited as a vinyl entitled Kwangkay: Funerary Music Of The Dayak Benuaq Of Borneo (SF 106LP, 2016). Tracks 1 to 4 were recorded in the village of Wanagiri, in the district ("kecamatan") of Sukasada, of the regency of Buleleng. Tracks 5 to 9 were recorded in the village of Peliang, in the district of Ubud, of the regency of Gianyar. CD version comes in a digipak with 12-page booklet.
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AMETHYST 025LP
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For ten years, Kazuma Kubota has been mastering his blend of harsh noise and ambient and Utsuroi is no exception. Originally released as a limited edition cassette in 2015 by Amethyst Sunset, Utsuroi has been remastered by Joe Panzner for optimum vinyl listening on this edition. From the opening murky industrial stomp of "Kizu", Kubota's layers a perfect mix of noise which leads to a perfectly crafted mix of ambient and cut up harsh noise on "Wasurenagusa". The second side of the record features a side-long shoegaze that displays why Kazuma Kubota is becoming a well-known name in the noise scene and will be remembered as one of the greats carrying the torch of the Japanese noise scene for many years to come. Recorded at Studio Bass On Top, Ikebukuro, Tokyo 2014. Edited and mixed at Bedroom 2014-2015. Includes download code; Edition of 250.
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2LP
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APRAPTA 006LP
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SeMiAmar, aka Basti Grub and Mike Trend present Time. Enjoy! 180 gram vinyl only; Printed deluxe sleeve.
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12"
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ASTRAY 001-2EP
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Inaugurating the release, the cleverly designed "Oberservate" drives forward with relentless kick drums that merge into self-indulgent pads slowly growing into a stargazing techno tale. P.Leone's remix sticks to the original's covertness while adding more depth by peeling out the pensive atmosphere as his lead synth gears more empathically towards the dancefloor. Discrete Circuit's ambient version of "Remote Conversation" sees the monologic acid line encounter blood-boiling pads passing through some unknown territory. Blind Observatory's remix rips out the principal elements from the original in order to create a pulsating ominousness reminiscent of his trademark neo-futuristic journeys.
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AU 1019CD
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"Directed and produced by David Toop, Dirty Songs Play Dirty Songs reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: The Soft Machine and Pink Floyd 1967-68, The MC5's Kick Out the Jams, The Stooges, Sun Ra's Cosmic Tones For Mental Therapy, and The Heat Is On by The Isley Brothers. Dirty Songs Play Dirty Songs is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd 'John Latham' recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen's 'Louie Louie'. Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as Dirty Songs, existing both as audio recordings and audio-visual elements of Maxime Rossi's installation Christmas On Earth Continued, exhibited at MRAC in November 2017. Dirty Songs is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), Mark Sanders (drums). Package designed by Tom Recchion."
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AU 1019LP
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LP version. "Directed and produced by David Toop, Dirty Songs Play Dirty Songs reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: The Soft Machine and Pink Floyd 1967-68, The MC5's Kick Out the Jams, The Stooges, Sun Ra's Cosmic Tones For Mental Therapy, and The Heat Is On by The Isley Brothers. Dirty Songs Play Dirty Songs is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd 'John Latham' recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen's 'Louie Louie'. Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as Dirty Songs, existing both as audio recordings and audio-visual elements of Maxime Rossi's installation Christmas On Earth Continued, exhibited at MRAC in November 2017. Dirty Songs is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), Mark Sanders (drums). Package designed by Tom Recchion."
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ABX 069LP
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LP version. Color vinyl; Reverse board heavyweight sleeve; Edition of 300. Memnon Sa return with Lemurian Dawn, a cosmic journey through space, time, and myth. Black ops missions witness the binary sunrise on a forgotten world. Pan dimensional spacecraft hover over ancient pyramids on worlds undreamed of. The guitar-driven doom metal sound of the acclaimed debut Citadel (2014) has been replaced here by a myriad of analog synthesizers, ancient world instruments, throat singing and strings. Lemurian Dawn channels new age meditational works, film soundtracks, and cosmic jazz from the '70s and '80s. The result could be the soundtrack to a lost 1970s European animation sci-fi film; warm analog sounds hint at cosmic foreboding and sinister forces unseen. The album was recorded over a month-and-a-half at Misha Hering's Holy Mountain Studios in Hackney, London, and mixed using almost exclusively analog equipment to 1/2 inch tape. It was mastered by legendary mastering engineer Dave Cooley at Elysium Masters in LA. "The references are very fleeting and hard to pin down, which gives the feeling of never quite getting your bearings. This is a good thing. Goblin, Pharaoh Sanders, Alexandro Jodorowsky, psyche folk, even the Incredible String Band, present cosmic vibes with precision." --GoldFlakePaint.
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9x7" PIC DISC
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AX 073EP
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9x7" vinyl picture disc. It has been 100 years since the British composer Gustav Holst introduced his most famous score The Planets. An elegant musical tour to each one of our planets in the solar system, Holst brought forth imaginary visions of space that would survive many generations and decades after. As an important piece to the classical universe, The Planets is regularly played throughout the world every year as it had been the most vivid translation of our cosmic neighborhood until now. The electronic music artist and producer Jeff Mills, pays tribute to this century of incredible musical production. He embarks on a sonic journey to compose and re-discover our neighboring planets in an 18-piece suite that explores the nine planets, including the portions of space in between the planets, the nine regions Mills calls "Loop Transits". Mills takes the rotating principle of the solar system as aesthetics, concept, and model for creativity. From the beginning, his first releases explored futuristic and science fiction topics, and he continues to do so to this day. For Jeff Mills, the future is a powerful creative drive which explains the artist's ceaseless activity. Since its creation and like the intention of Holst, each track is musically imagined to invoke the psychological effect, emotions, and ideas of each planet. But unlike in the year 1918, when the score was first publicly heard on the last week of World War I, 100 years later, there is now a more accurate knowledge about what each planet is made of and what they look like. The piece should bring the audience closer to confronting each planet in ways that audiences in 1918 could only dream of. With the French composer Sylvain Griotto, the arranger of Planets, and Mills's previous work on the album and classical score about the NASA astronaut and doctor Mamoru Morhi's space journey in 1992 and 2000 from the album Where Light Ends (2013), Mills has created an electronic music album that has been translated for symphonic and philharmonic orchestras and will accompany them in their live debut and all performances. Starting to conceptualize and produce music for it dating back to 2005, Mills constantly worked on the project over the years to bring it to fruition. In July 2016, Jeff Mills completed the last production stages of the Planets album at the world famous Abbey Road Studios in London.
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BING 116CD
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"With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multi-instrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird's own sound stems from the Appalachian folk tradition, and she connects to it via family lineage -- her great-great uncle I.G. Greer's folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo. With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including 'Dreadful Wind and Rain' and 'Pretty Polly,' being passed down from the folk tradition, and the other half, including 'Wind Wind' and 'Love Song From The Earth To The Moon,' coming from Baird's own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird's solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals."
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BING 116LP
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LP version. "With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multi-instrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird's own sound stems from the Appalachian folk tradition, and she connects to it via family lineage -- her great-great uncle I.G. Greer's folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo. With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including 'Dreadful Wind and Rain' and 'Pretty Polly,' being passed down from the folk tradition, and the other half, including 'Wind Wind' and 'Love Song From The Earth To The Moon,' coming from Baird's own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird's solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals."
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12"
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BEC 5156670
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Lady Chann and Rapha team up for Hard Drive. The UK's "number one dancehall queen" returns with a storming Carnival heater called "Hard Drive". This minimal dancehall rhythm packs in solid sub-bass, a bark, and some well-placed/spaced-out percussion. The producer is the Bern, Switzerland born and raised Raphaël "Rapha" Gasser, who became hooked on dancehall after hearing a mixtape by Berlin-based Supersonic Sound. On the flip is the remix by Newark-based R3LL, upping the BPM and keeping the forward thinking dancefloors bubbling.
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12"
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BDN 015EP
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"Bestie Aydin under the name Nene Hatun: a Turkish Berliner, crossing 'psychedelic-anatolian techno-pop' and 'dark drone wave music'. Field recordings and samples -- choral chants in church, du'a' from a mosque, small girls singing in the street -- are layered with a piano prepared by placing various metals on the strings, and played by plucking or striking, often in the traditional rhythms of darbuka and davul. 'The A-Side is more classical in its form,' says Bestie, 'but the ideas are more unnoticeable. It's more technical, with a lot of small details and samples. The B-Side on the other hand is more obvious in ideas but the form is obscure, with my approach just to play on the gear and make something impulsive, and analyze after.' "
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BDN 016EP
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"Shanghai/Taipei-based producer Tzusing returns with 一瞬千擊 (In a Moment a Thousand Hits), continuing his exploration of the seamier side of life, his music mutates from industrial and EBM roots into stranger territories. Like the titular martial arts master of his recent LP 東方不敗, who can only achieve invincibility by denying his own masculinity, 一瞬千擊 asks if obsessive pursuit of a specific identity can only lead to its negation, the opposite of the intended image. Amidst the malevolent throat singing samples, suona-like drones, and occasional shouts and howls in Taiwanese, the music's slamming percussive weight nods towards the most reviled forms of mainstream dance music. Treating every available tool as valid, Tzusing interrogates taste, constructed identity, and the desire for power through five tracks of destabilised funk and thundering processions."
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12"
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BLACKCROW 010EP
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Ed Davenport aka Inland explores all facets of his diverse sound on Metatlantic. The title-track is a work of driving, acid-laced techno; "Cosinaxis" employs electro beat patterns and IDM aesthetics; "Lagoon9 (feat. Civilian)" is a melodic, Detroit-indebted big-room weapon. Closing out the EP is a remix of "Cosinaxis" by Italian duo 3KZ (Z.I.P.P.O and Kaelan).
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BORNBAD 097CD
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"The passenger has set up camp inside your body, and you can't remember if it happened yesterday or if she's always been there. Her crimson hair irradiates your blood as chants and laughs spill from the bedroom. The vessel shudders then arches as the loving parasite bites the back of your neck. In the mirror, bright red gum, milky teeth. The face that suddenly eyes you has painted the town over and poisoned the source. The orchestra of persisting ghosts wanted to record a Bob Dylan album that would sound like Iggy Pop The Idiot. All the while, you were delirious in a smoke-filled aquarium in a car with its windows sealed. Then, the wreck abandoned in a ditch, we took the sea towards California. On the bridge, the virus of the passenger gives her flesh to your starry silhouette. I love you even more, the both of you. Today."
Sophomore album by Marietta, La Passagère, follows Basement Dreams Are The Bedroom Cream (BORNBAD 074CD/LP, 2015), which was lauded by French daily newspaper Liberation, magazines Les Inrockuptibles, Magic, New Noise, and online magazine Noisey. After touring with his band for two years and playing well-received concerts at Villette Sonique, Rock en Seine, Levitation Festival, Musiques Volantes, Bars en Trans, laureate of leading French development prize Fair 2017 Guillaume, Marietta has come back with nine songs written in French for the first time. The album was recorded in Los Angeles by Chris Cohen, singer-songwriter and producer extraordinaire, with two albums signed on Captured Tracks and past member of Deerhoof and The Curtains. Mixed by Kenneth Gilmore, permanent member of Ariel Pink Haunted Graffiti, who counts in his mixing catalogue Front Row Seat To Earth by Weyes Blood (2016) and My Dreams Dictate My Reality by SOKO (BEC 5161988/5161989, 2015). A carnal, sensual, hallucinating, and melancholic record, fed by representations of the woman, the modern city, self-abandon, paranoia, and redemption. La Passagère is inhabited by the ghosts of Syd Barret and Lou Reed, and nods to contemporary productions by Kurt Vile, Cate Le Bon, Tim Presley, Kevin Morby, and of course Chris Cohen. CD version includes 12-page poster booklet. LP version includes printed undersleeve.
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CF 096CD
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"When I was first told about Duds, it came with the considered opinion that the guys were far from what you'd call 'careerists'. 'They don't take themselves too seriously' was another comment. I could have taken this as a warning that they weren't in it for the right reasons -- but that couldn't be further from the truth. From my perspective Duds simply won't bend over backwards to 'get on'. They do what they do and you can take it or leave it. I took it -- with both hands... with a vice-like grip. They have the invention and urgency of Edinburgh legends The Fire Engines. The Post-Punk ethic. Short songs, short sets = short album. 'They're one of the most thrilling bands I've seen in years -- and the fact that they're releasing this brilliant piece of work on the Castle Face label adds the last piece of a perfect 'outsider' jigsaw puzzle. Duds sitting alongside Oh Sees, Ty Segall, White Fence, Useless Eaters, et al. There is a god!' --Marc Riley, June 2017
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CF 096LP
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LP version. " 'When I was first told about Duds, it came with the considered opinion that the guys were far from what you'd call 'careerists'. 'They don't take themselves too seriously' was another comment. I could have taken this as a warning that they weren't in it for the right reasons -- but that couldn't be further from the truth. From my perspective Duds simply won't bend over backwards to 'get on'. They do what they do and you can take it or leave it. I took it -- with both hands... with a vice-like grip. They have the invention and urgency of Edinburgh legends The Fire Engines. The Post-Punk ethic. Short songs, short sets = short album. 'They're one of the most thrilling bands I've seen in years -- and the fact that they're releasing this brilliant piece of work on the Castle Face label adds the last piece of a perfect 'outsider' jigsaw puzzle. Duds sitting alongside Oh Sees, Ty Segall, White Fence, Useless Eaters, et al. There is a god!' --Marc Riley, June 2017"
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COR 041LP
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Triple LP version. Since their first release on James Holden's Border Community dropped in 2005, Extrawelt, Arne Schaffhausen and Wayan Raabe, have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", and their two seminal albums on Cocoon Recordings -- Schöne Neue Extrawelt (COR 019CD/LP, 2008) and In Aufruhr (COR 028CD/LP, 2011). Fear Of An Extra Planet completes the Cocoon trilogy. Fear Of An Extra Planet offers the wide open spaces and dark, dusky worlds reminiscent of their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream-like quality that made James Holden's label so influential. "Gott Ist Schrott" takes a much more minimalist approach with its retro '80s drum programming, monster bass lurking in the breaks, and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro, with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like "in pursuit" feeling. "Das Große Flimmern" keeps with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade their listeners with an energy and impetus that always radiates from their music. On "Silly Idol", Schaffhausen and Raabe opt again for a more minimal tack, focusing even more intensely on the dancefloor to reveal a pulsing, twisted heart to the album. "Punch The Dragon" is the hidden gem of the collection, utilizing and melting together the most bombastic and playful elements. The title track opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analog drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album. The morbid charm of the title "The Friendly Coroner" is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. The dramatic end of "2084" leaves you transfixed, safe in the knowledge that you've just witnessed a science fiction epic.
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CSR 242CD
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A gathering of majestic, heavy, dark ambient, ritual, drone, and noise music from Iran. Highly original and monolithic, with stunning production, Visions Of Darkness stands shoulder to shoulder with the giants of the dark ambient scene. In a country where youth culture has been heavily restricted for so long, it's significant when a cultural form such as this has an opportunity to reach a wider audience -- aided by the abstract nature of dark ambient, drone, and noise. In comparison, the dance music scene has a harder time taking root in Iran due to the illegality of men and women dancing in public together. However, the growth of the experimental electronic scene is going to be about more than a mere novelty reaction to a political paradigm shift. The darkness here is a consequence of the mood of the artists -- darker after the country was put on a black list and more restrictions were applied to many things, including monetary transactions to and from Iran. As a consequence, Iranian artists have a great difficulty getting the resources to better develop their projects. Despite this, the enthusiasm and will for Iranian musicians to promote their music shines through. Edited by Unexplained Sounds Group; Curated by Raffaele Pezzella (Sonologyst) and Morego Dimmer (aka Mohamadreza G). Features: Saint Abdullah, Xerxes The Dark, S.S.M.P, Alphaxone, Limen, Ali Phi, Reza Solatipour, Nojan, Hossein RangChi, Narcissa Kasraï, Rhonchus, DSM¸ idft, Nyctalllz, Poo Yar, Anunnaki Signal, Soheil Soheili, XSIX, Crows In The Rain, Downtown Of Hong Kong, and Mehdi Behbudi & Vahide Sistaani.
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CSR 243CD
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The triumphant reawakening of San Francisco's masters of behemoth ritualistic darkness. Within Shrines For The Unwanted, Respite For The Cast Aside, bone, antler, and voice produce connective threads between the worlds, as guitar and percussion punctuate shifts in mood. Voices call to the spirits, and the spirits call back in return. Recorded in 2016 during four private, collective only rituals, the pieces pull the listener through the darkest and most overgrown trails of the blackest forest. Monumental and horizon-less, ritualistic black ambience. Vocal visitations by A.C. Way of Sutekh Hexen. Common Eider, King Eider is headed by Rob Fisk (ex-Deerhoof), Andee Connors (A Minor Forest, legendary aQuarius boss). Spot-varnished digipak.
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CVSD 039CD
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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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CVSD 041CD
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Corbett Vs. Dempsey present The Lost Eddie Chatterbox Session, a reissue of Eugene Chadbourne's album, first released as a cassette on No Prestige Records in 1988. Dateline: Christmas Day, 1977, San Francisco. On an ailing quarter-track tape deck, in a marathon session, Eugene Chadbourne recorded a series of slide guitar solos playing compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, along with a few standards and originals. Although the recording quality was imperfect, the playing was absolute genius -- enough so that Chadbourne was eventually convinced, a decade later, to issue it as a cassette tape, which he sold at concerts. Long pre-dating the slash-and-burn-and-reinvent approach to jazz songbooks now familiar from groups like News From Lulu, Chadbourne leapt into each short track with giddy abandon, introducing the piece with a nerdy credit line, then ripping and tearing at it adoringly, his improvisations forcing a new view of the familiar melodies. Anyone familiar with Chadbourne's wonderful duets with Frank Lowe on Don't Punk Out! (1979), waxed in the same period, has a general sense of his modus, but the complete commitment he gave to the project on The Lost Eddie Chatterbox Session makes it a special and wholly unique item in the manic master's chronicles. On this special CD reissue, the tracks have been tenderly but respectfully restored, eliminating some of the most distracting audio flaws but leaving the inconceivable artistry intact. Four unreleased tracks have been added to the jam-packed program, as well as the original cover photo and Chadbourne's unreadable track listing, which is carefully reproduced on the interior. Recorded December 25, 1977, in San Francisco.
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