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LP
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IF 003LP
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2021 repress. "For The Sound's sophomore LP, the group decided to work with producer Hugh Jones (Echo & the Bunnymen, The Teardrop Explodes, Bauhaus). The resulting album is more richly layered than their debut, fusing the band's atmospheric, affecting sound with a set of accessible yet invigorating songs. At the time, From the Lions Mouth gained great marks from the British music press, but did not break the band beyond its devoted cult of fans. Now it is considered a post-punk classic. A relatively restrained but vital follow-up to the charged and ragged Jeopardy, From The Lions Mouth proves that The Sound's critical stature among the post-punk elite was no fluke. A more robust recording budget allows them to explore a fuller, more cohesive sound, while Adrian Borland's lyrics are even more introspective (a jarring turn after the often political bent of Jeopardy). However despondent the singer's words became, the tone, as pointed out in the original NME review of the album, never descend into 'pessimistic wallowing.' Tracks like 'Sense of Purpose' and 'Contact the Fact' still feature a sweeping urgency and highlight the tension between Borland's grim worldview and his knack for a hook." Contains hidden bonus track: "Hothouse."
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4M 226LP
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2021 restock. "180 gram vinyl. "Originally released in 1966 on the Takoma label, Contemporary Guitar is a beautiful compilation of solo acoustic guitar instrumentals from folk and blues legends such as Bukka White, John Fahey, and Robbie Basho as well as lesser knowns like Max Ochs and Harry Taussig. An essential compilation of American guitar soli."
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4M 234LP
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2021 restock. "The fourth album from this psychedelic folk group (second for Warner/Reprise) was released in 1970 and features songs written by Tom Rapp while living in Holland. The Use of Ashes was recorded in Nashville with the top session musicians of the time including Charlie McCoy, Kenny Buttrey, and Neil Young producer David Briggs. A subversive, tender, moving, goofy, maddening, and profound record. Pressed on 180 gram vinyl."
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BTRC 012LP
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"Memphis, Tennessee, 1972: Seated behind a primitive mixing board in a tiny Quonset hut at 64 Flicker Street, just a stones' throw from the Illinois Central railroad tracks, Pastor Juan D. Shipp crackles over the AM airwaves with an electrifying array of the latest and greatest in gospel quartet sounds. With an audience that spans the width and breadth of the Bluff City, from truck cabs to taxi stands, from Mid-Town to Orange Mound, from the Peabody Hotel to Payne's Barbecue, if you're a fan of Memphis's thriving gospel scene, you're locked into 'Juan D' at K-WAM, 'the Mighty 990,' the very station that --twenty years earlier, during its first incarnation as KWEM across the river in West Memphis, Arkansas -- had first brought blues wizard Howlin' Wolf to the ears of recording engineer Sam Phillips. Now, two decades later, having revolutionized the music world with Sun Records and its holy trinity of Elvis Presley, Jerry Lee Lewis and Johnny Cash, the Wolf still remained Phillips' favorite. 'This is where the soul of man never dies,' he'd memorably declared of the six-foot-six gravel-voiced force of nature, a description that could just as easily be applied to so many of the artists whose records Shipp is now spinning over the air."
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BTRC 016LP
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"Fresh off the success of Elizabeth King's Living In The Last Days, producer and engineer Bruce Watson of Bible & Tire Recording Co. strikes hot with another veteran voice of Memphis sacred soul. Elder Jack Ward, who once recorded for the legendary Stax and Chalice Records arrives with his debut solo effort Already Made, after decades of giving his life to his work in the church."
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BPC 200LP
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2021 repress. Gatefold LP version. This is the highly-anticipated debut full-length release by Moderat, the collaborative conjoining of Modeselektor and Apparat. A twist of fate at the Stadtbad Mitte (Berlin-Mitte City Pool) united them in the spring of 2008, and Moderat was reformed. Recorded at the legendary Berlin Hansa Studios (where David Bowie recorded Heroes) in analog with the help of the studio's vintage tube technology and an old EMI console from 1972, restored especially for Moderat. Moderat's self-titled debut makes it sound like these fellas have been working closely together for years -- and the analog production gives these tracks a steady, glowing warmth that pulses and breathes organically. Totally seductive, dark dance tunes that possess an almost tribal disposition for the most intense peak moments. This is a massive debut that unites two of techno's most celebrated acts.
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CD
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BB 369CD
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Bureau B present a reissue of Die Fische's Eine Nacht in Cairo, originally released 1986. Die Fische from Ratingen pressed their 1986 album Eine Nacht in Cairo in a small private edition. Long considered a forgotten treasure of the German post-punk underground, it has more recently been discovered all over again by new listeners as one or two cuts, such as "Fire Of Love" and "Conversation Of Everyday-Lovers", have broken through the topsoil into the vast reaches of the internet. Nowadays, collectors over the world search for precious copies of the Eine Nacht in Cairo album, a wonderfully rapturous album, somewhere between leftfield synth-pop and post-punk. Die Fische were founded by Bernd Oprach and Peter Walgenbach back in 1982. During the course of various sessions in the new, openly experimental Ratingen music scene, they got to know drummer Arnd Willert, who soon became a fully-fledged member of the band. The gravitational pull of the Düsseldorf scene and groups like Der Plan grew stronger around this time, with Ratinger Hof at its center. As punk, new wave and early, experimental NDW (Neue Deutsche Welle) orbited around the trio, they decided to renegotiate their own trajectory, creating music far removed from traditional forms. Their approach to recording (including the use of a Walkman) the electronic equipment they had assembled, such as sequencers, synthesizers (for guitar sounds too) and drum machines opened up new sonic horizons. Compared to today's digital technology, however, the means at their disposal were rather limited. Instead of holding them back, this actually set the tone for creative improvisation. Allied to Dadaist elements, the early works are strikingly uncompromising. Ten tracks featured on the 1983 cassette which represented the self-released debut by Die Fische. The band played a host of shows throughout Germany from 1982 onwards, many of them in the Düsseldorf region. The subsequent album, Eine Nacht in Cairo, sounds altogether more structured and mature. This time around, the line-up was augmented by the vocalist Patrick, bassist and co-lodger Konrad Mathieu and an additional session drummer, Gigi Sessenhausen. The band members continued to work in numerous other projects, with fluctuations and new formations in shifting constellations very much in the spirit of the age. Die Fische can be seen as a band who were energized by the current of musical optimism in the early 1980s. Many treasures disappeared all too quickly.
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BB 369LP
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LP version. Bureau B present a reissue of Die Fische's Eine Nacht in Cairo, originally released 1986. Die Fische from Ratingen pressed their 1986 album Eine Nacht in Cairo in a small private edition. Long considered a forgotten treasure of the German post-punk underground, it has more recently been discovered all over again by new listeners as one or two cuts, such as "Fire Of Love" and "Conversation Of Everyday-Lovers", have broken through the topsoil into the vast reaches of the internet. Nowadays, collectors over the world search for precious copies of the Eine Nacht in Cairo album, a wonderfully rapturous album, somewhere between leftfield synth-pop and post-punk. Die Fische were founded by Bernd Oprach and Peter Walgenbach back in 1982. During the course of various sessions in the new, openly experimental Ratingen music scene, they got to know drummer Arnd Willert, who soon became a fully-fledged member of the band. The gravitational pull of the Düsseldorf scene and groups like Der Plan grew stronger around this time, with Ratinger Hof at its center. As punk, new wave and early, experimental NDW (Neue Deutsche Welle) orbited around the trio, they decided to renegotiate their own trajectory, creating music far removed from traditional forms. Their approach to recording (including the use of a Walkman) the electronic equipment they had assembled, such as sequencers, synthesizers (for guitar sounds too) and drum machines opened up new sonic horizons. Compared to today's digital technology, however, the means at their disposal were rather limited. Instead of holding them back, this actually set the tone for creative improvisation. Allied to Dadaist elements, the early works are strikingly uncompromising. Ten tracks featured on the 1983 cassette which represented the self-released debut by Die Fische. The band played a host of shows throughout Germany from 1982 onwards, many of them in the Düsseldorf region. The subsequent album, Eine Nacht in Cairo, sounds altogether more structured and mature. This time around, the line-up was augmented by the vocalist Patrick, bassist and co-lodger Konrad Mathieu and an additional session drummer, Gigi Sessenhausen. The band members continued to work in numerous other projects, with fluctuations and new formations in shifting constellations very much in the spirit of the age. Die Fische can be seen as a band who were energized by the current of musical optimism in the early 1980s. Many treasures disappeared all too quickly.
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CF 137CD
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"The same crew as the boundary pulsing improvisation record Bent Arcana has made a trajectory shift and picked up Ben Boye along the path. The aptly-named Moon-Drenched is the second installment from these sessions and keeps a heavy-lidded late night perspective on things as it eases from the somewhat familiar liminal twilight of skittering hues of black-blue and snaking street groove, to fizzing off into the ether in pursuit of lunar prism beams heretofore unseen. The more rhythmically dialed bits here have a lysergic halo of strangeness to them, and the wispy bits between are spun of iridescent gossamer. It sounds like a frizzled message from a future just filthy with guitar hoots echoing off of neon-splattered high rises, oil-slicked waterways and skittering digital beasts. For Castle Face's money this is the strangest slice of this last bunch of John Dwyer and his crew's improvisations."
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DIS 007LP
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2021 restock. "Flex Your Head was first released in January 1982 and was the first full-length album released by Dischord Records. The compilation features 32 songs by 11 DC area bands and went a long way towards 'putting DC on the map' as one of the era's great punk scenes. This album has remained in print, first on LP and later on CD, and has remained a perennial must-have for each new generation of kids looking to re-trace the roots and ethos of DIY punk. One of the unique features of the album over the years has been its revolving front cover image. The first pressing featured a generic stock cover with a classical music theme chosen from the pressing plant's catalog. Over the years there have been 4 different covers, the violin, the wheat field, the DC Flag and the blurry man. This new edition, which has been re-cut and includes a free MP3 download coupon, features the DC Flag stars and bars (on a red field), an image so associated with DC punk that many mistake it for a made-up symbol for straight edge. This cover image was also used (on a black field) for an edition of the album briefly pressed in conjunction with Alternative Tentacles in the '80s."
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DIS 035LP
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2021 restock. Originally released in 1989, Fugazi's second release; 6 song EP. Remastered; printed inner sleeve with lyrics.
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DIS 060LP
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2021 restock. "This is Fugazi's second full-length record, released in 1991. This 12" LP was re-cut and re-issued in September 2009 and comes with a free MP3 download."
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DGARTA 001LP
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After the very successful Jimmy Widener first issue on the label dedicated to hillbilly music -- Red Barn Records -- Doghouse & Bone Records had to dig a little more into their personnel shellac collection to offer you the complete Bullet sessions, 1950-52, of this obscure but very talented "proto" rockabilly band. Two years before the Elvis recordings at Sun, you already feel the wind of musical change' a coming!
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DAD 133LP
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2021 restock. Collecting some of his most important recordings, this is Duke Ellington and his Orchestra in late 1927 and early 1928, at the peak of their "roaring '20s" popularity. This was also at the beginning of the Ellington Orchestra's famed run at Harlem's Cotton Club, a legendary jazz club and host to some of the biggest names in the history of the music. Featuring the beautiful voice of Adelaide Hall, this collection includes some of his most highly regarded compositions and titles such as "The Blues I Love To Sing", "Jubilee Stomp", "Washington Wabble", and "Creole Love Call". In a career that spanned decades and countless accolades, these might be the finest recordings Ellington ever made.
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EMEGO 296LP
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Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. This release features two new major works from this audacious sound explorer. Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein's now famous quote regarding quantum mechanics, this is spooky audio at a distance. "Fortuna Ribbon" is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the six examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A. Schmickler's ongoing investigation of sound matter conjures impossible audio that delights in the extremity of form and resulting effects on the listener. Schmickler's audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound. Cut 01/2021 by Andreas Kauffelt at Schnittstelle, Berlin. Artwork by Neo-Metabolism.
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CD
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EMEGO 304CD
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"Gonzen, uminari or retumbos. Perhaps you've heard these sounds? They're known to occur all over the world and, as one might expect, humans have strained to offer various explanations for these unsettling emissions that materialize unbidden from the sky. We like to say that we've understood what's happening so that we can move on. Tidy up the loose ends and don't scare the horses. Nothing wrong with that in good measure, but there's something to be said for the Haudenosaunee peoples' explanation. They pointed out that the Great Spirit hasn't finished their work of shaping the earth and is making a fair bit of noise while they're at it. If you accept that many questions never truly get answered, in fact can or should never truly be answered, you may be able to tune your mind to this collection of lingering sonic detonations. If you accept that the work is ongoing, our labors seldom done, that there's not much point talking about the end of anything, you may be ready to join us. It's not our task to finish it, nor are we free to desist." Written and produced by Anthony Child and Daniel Bean. Mastered by Stephan Mathieu at Schwebung Mastering, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, April 2021.
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OME 1020LP
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Reduced price, last copies. Fantôme Phonographique present a reissue of Luc Estang and Pierre Henry's Saint-Exupéry, originally released as a 10" in 1959. During his long and illustrious career, the French composer and musique concrète pioneer Pierre Henry created a large amount of incidental music to accompany literary texts, both on record and for the stage, from Jules Verne to Victor Hugo, from Lautréamont to Antonin Artaud. This incredibly rare LP from 1959 is a radio play about the life of French pilot and writer Antoine de Saint-Exupéry, based on the 1956 book by Luc Estang on the subject. The interpreters are a small theater troupe including French actor Paul Meurisse (1912-1979), famous for popular films and as a member of national theater company, La Comédie Française. Underlying key scenes, Pierre Henry's contribution to the play consists of electronic and musique concrète sounds, adding a contemporary dimension to the text. A beautiful piece from one of the mid-20th century's truly brilliant sonic explorers.
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OME 1024LP
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Reduced price, last copies. Fantôme Phonographique present a reissue of Serenata I/Sonatine/Canteyodjaya/Zeitmasze, originally released in 1958. The avant-garde composer and conductor Pierre Boulez was a titan of post-war experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music, and African drumming, among other sources. Earning money by playing an early electronic keyboard called the Ondes Martenot on theater productions, Boulez soon became music director of the Renaud-Barrault Theatre Company, leading to tours of Belgium, Switzerland, Britain, and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage's commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Olivier Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny Theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio's "Serenata I", conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez's own "Sonatine", composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen's influence, with shades of Asian classical music in places; then, Stockhausen's monumental "Zeitmasze" (or "Time Measures") a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern's principles of homogenous and harmonic textures. Finally, Messiaen's 1949 work "Cantéyodjayâ", delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer's oeuvre. 180 gram vinyl.
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Cassette
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FTR 383CS
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"It has been a while since the release Myriam's acclaimed 2014 debut album, Not So Deep as a Well (FTR 146-4LP). The intervening years have brought a smattering of live performances, a bouquet of children, Trump's Pandemic, and much more . . .
Different concepts for a new album were broached, but the seed of Ma Délire was planted when Myriam recalled a paper she written in university. It was about Leonard Cohen's recording of "The Lost Canadian (Un canadien errant)" from Recent Songs. Ostensibly a cover of an old Quebecois ballad, Cohen stripped away the specificity of the lyrics, tying the song's titular figure to the archetype of 'The Wandering Jew'.
The theme of this paper returned to Myriam when she had a residency at the Old Mill in Le Bic, QC in August 2016. Benoit Chaput had turned her on to the traditional tune 'Au Coeur de ma Délire,' from a 1971 album by Dominique Tremblay and Philippe Gagnon. The song was so haunting, she decided to record it right there in the Mill's boat repair workshop. That is the very recording used here . . .
This started Myriam musing about how the end of the Catholic hegemony in Quebec had the unanticipated consequence of making people think less of traditional Quebecois folk music, because so much of it was soaked in the blood of the lamb. It made sense this music should be explored and updated despite its dogmatic origins which Cohen had proved could be effectively expunged . . .
Just as the world was shutting down, Myriam was awarded a grant which allowed her the time and space to fully investigate and develop this material. She had spent years sifting through traditional music from Quebec, France and the U.S., highlighting parts of songs and ideas she liked, discarding some she found abhorrent, and merging the good bits with her own writing or other cannibalized shards. At some juncture she flashed on this work's common thread -- its thematic roots were always in one type of romantic longing or another. And so, this album came together during the dark days of the General Lockdown. Mixing vocal tracks with instrumentals, singing in both French and English, using a syncretic blend of original, modern and traditional lyrics, Ma Délire fearlessly wanders through a universe of its own invention, daring us to open our minds wide enough to take it all in.
Myriam initially recorded with just guitar and vocals. But when she began working with the sound engineer Tonio Morin-Vargas, he had some insightful suggestions about additional instrumentation that might broaden the album's sound without confounding it. Myriam had already planned to ask her friends, Bill Nace and Chris Corsano, to add some things, so the whole shebang evolved as organically as most great records do..." --Byron Coley, 2021
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FTR 600LP
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"It is with great pleasure we announce the vinylization of the fourth (of five) albums released during their lifetime by this superb Providence-based acid-folk duo, who existed from 1996 to 2003. The Iditarod was primarily the vehicle for Carin Wagner and Jeffrey Alexander, who created a spare UK-damaged folk sound with intimate psychedelic touches and fully contemporary atmospherics, although they often had friends along for the ride. On this album (edited down from the original CD), guest musicians are Matt Everett (from Alec Redfearn's band, Eyesores), Jesse Poe (from Tanakh), and Margie Wienk (of Fern Knight and Eyesores). Together, they create a lovely haunted forest of sounds. Although the ensemble is small, certain passages (like the traditional 'Let No Man Steal Your Thyme') have a jazzy lilt that evokes Pentangle, despite the fact the arrangement is quite stark. Somehow they manage to capture the essence of a full band despite their actual size. On the opposite end of things is a track like 'Cycle Circle,' with backwards guitars, dolorous bells chiming in the distance, and a vocal from Carin that sounds like spirit projection. In between there are a host of excellent surprises. The album was recorded in Richmond, VA in 2001. It was originally issued on CD by the Bluesanct label, and came out a little bit before the whole New Weird America thing took off. This was back when there were a lot of people trying out different approaches to unlocking the secrets of the acid folk tradition, but before there was a name for what they were doing, or any kind of real scene to chronicle. In that sense, The Iditarod were a bit ahead of their time. But we won't hold that against them. I have lost track of what Carin is up to these days, but Jeffery has kept busy, with bands like Dire Wolves and solo projects like Meditations for Beowulf (FTR 470LP). It's very nice to revisit some of his back pages. The blend the Iditarod offers sounds as great as ever, and augurs a cool future that was just beginning. Tally ho!" --Byron Coley, 2021 Edition of 250.
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FTR 639CD
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"It has been a while since the release Myriam's acclaimed 2014 debut album, Not So Deep as a Well (FTR 146-4LP). The intervening years have brought a smattering of live performances, a bouquet of children, Trump's Pandemic, and much more . . .
Different concepts for a new album were broached, but the seed of Ma Délire was planted when Myriam recalled a paper she written in university. It was about Leonard Cohen's recording of "The Lost Canadian (Un canadien errant)" from Recent Songs. Ostensibly a cover of an old Quebecois ballad, Cohen stripped away the specificity of the lyrics, tying the song's titular figure to the archetype of 'The Wandering Jew'.
The theme of this paper returned to Myriam when she had a residency at the Old Mill in Le Bic, QC in August 2016. Benoit Chaput had turned her on to the traditional tune 'Au Coeur de ma Délire,' from a 1971 album by Dominique Tremblay and Philippe Gagnon. The song was so haunting, she decided to record it right there in the Mill's boat repair workshop. That is the very recording used here . . .
This started Myriam musing about how the end of the Catholic hegemony in Quebec had the unanticipated consequence of making people think less of traditional Quebecois folk music, because so much of it was soaked in the blood of the lamb. It made sense this music should be explored and updated despite its dogmatic origins which Cohen had proved could be effectively expunged . . .
Just as the world was shutting down, Myriam was awarded a grant which allowed her the time and space to fully investigate and develop this material. She had spent years sifting through traditional music from Quebec, France and the U.S., highlighting parts of songs and ideas she liked, discarding some she found abhorrent, and merging the good bits with her own writing or other cannibalized shards. At some juncture she flashed on this work's common thread -- its thematic roots were always in one type of romantic longing or another. And so, this album came together during the dark days of the General Lockdown. Mixing vocal tracks with instrumentals, singing in both French and English, using a syncretic blend of original, modern and traditional lyrics, Ma Délire fearlessly wanders through a universe of its own invention, daring us to open our minds wide enough to take it all in.
Myriam initially recorded with just guitar and vocals. But when she began working with the sound engineer Tonio Morin-Vargas, he had some insightful suggestions about additional instrumentation that might broaden the album's sound without confounding it. Myriam had already planned to ask her friends, Bill Nace and Chris Corsano, to add some things, so the whole shebang evolved as organically as most great records do..." --Byron Coley, 2021
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GRLP 765LP
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Limited color vinyl reissue; originally released in 2012. September 2012 saw the release of Wovenhand's sixth studio album, The Laughing Stalk, produced by Alexander Hacke (who along with Edwards is participating in the reunion of Australian post-punk band Crime And The City Solution). Wovenhand's lineup for the album was changed once again, as Humbert quit and new bassist Gregory Garcia Jr. along with second guitarist Chuck French were brought in. The resulting record was described as being "the most heavy incarnation that ever existed of Wovenhand." (NBHAP)
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HPS 160LP
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Restocked; LP version. On the fringe of chaos, in the Year of the Pandemic, the Cannabeast has awoken! Bongzilla is back with a new full-length album, 16 years since their last record. These Pioneers of Weed Metal would like to present Weedsconsin to the universe. An album written by the three long standing original members of Bongzilla -- Muleboy (bass, vocals), Spanky (guitar), and Magma (drums). Recorded and mixed by the late John Hopkins at Future Apple Tree Studios in Rock Island, Illinois in October 2020. The six brand new tracks will blow your mind! In a single instant you are contaminated by the classic weed-infected sounds the band is known for, while also finding new elements mixed into the bowl. In the unique piece that is Weedsconsin, Bongzilla delivers heavy doses of crushing stoner doom and psychedelic space rock that sets it apart from earlier material. (That's why Heavy Psych Sounds is the perfect label to release this stuff). This record travels down a path of heavy riffs, mind-expanding jams, sonic tones, and stomping beats in the band's first release as a thunderous three piece, with Muleboy moving from guitar to bass. Approaching these songs as a three piece has created more space musically and allowed the band to showcase their musicianship in a different way. It results in a sound that is very heavy, along the lines of Gateway tone-wise, but sonically more clear. The album is mastered by Carl Saff at Saff Mastering in Chicago, Illinois, and Eli Quinn (Madison, Wisconsin) is the artist behind the astounding new cover art. Weedsconsin is dedicated to the memory of John Hopkins.
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2LP
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HJR 052LP
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2021 restock; 2LP version, housed in a radiant full-color gatefold sleeve. An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto (an urban area of the city of Johannesburg in Gauteng, South Africa), recorded between 2006 and 2009. From his small home studio in Soweto, Nozinja (aka Dog) sells more than 50,000 records a year (DVD, cassettes, CDs) -- without iTunes, without digital distribution. This is hyper‐local music, all of it still considered traditional, all of it marketed through Shangaan radio and newspapers to a relatively small set of people who live between Johannesburg, Limpopo and Mozambique. Besides Dog himself -- or rather Zinja, Dog's performance name -- his label roster includes BBC, Tiyiselani Vomaseve, and Dog's famed mask‐wearing, clown‐dancing group, Tshetsha Boys. Dog often goes to the dances to scout for new talent. That's where he found Tiyiselani Vomaseve, two sisters who perform together as one of the most popular Shangaan traditional groups in South Africa...the real test comes every Sunday in Soweto. Groups like Tiyiselani Vomaseve and BBC compete regularly for the crowd's favor. "You must be prepared to see the fastest dance ever," Dog declares. The dances are wild, with films of them attracting more than half a million hits on YouTube. Shangaan disco ran at 110 BPM. Dog's music is around 180 and it's getting faster. Yet the lyrics seem to run counter to this rapidity. They read like African soap operas, tied up with domestic matters and a yearning for the slower life. This is country music. There's something distinctive in this Shangaan perspective: they are one of the more rural and traditional groups in the wealthiest African nation, yet "tradition" to them can also be living, electronic and nuanced. Just as Dog samples American phrases in his songs, his videos cut in shots of white joggers on a spring day, a foggy lakeshore reminiscent of Wisconsin, even a corporate office space -- mundane yet exotic images which become intriguing takes on the modern South African dream. Instead of African music becoming Americanized and re‐framed for the global market, Dog's productions do the opposite. American phrases and foreign images become samples in his collage, in his traditional context. This album is the first release of its kind outside South Africa. Here is Dog's music as‐is.
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2LP
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HJR 202LP
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2021 restock. Honest Jon's Records present a reissue of Derek Bailey & Han Bennink, originally released in 1972. The third release in a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton (HJR 201LP) and Han Bennink, augmenting the original releases with marvelous, previously unissued music. The tussling vegetables in Mal Dean's cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an Instant Composers Pool in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique, and humor. It's obvious how much they loved playing together. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
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