|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 68 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
AKU 1016CD
|
Seitō: In the Beginning, Woman Was the Sun gathers Japanese female artists from various electronic and experimental music fields. Like the Tokyo Flashback series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. Featuring: Fuji-Yuki's glommy folk song, Kiki Hitomi's haunted dub tune, Mikado Koko's deep house hit, Miki Yui's electoacoustic performance, Kakushin Nishihara's noisy folk track, Kuunatic's oriental psych blend, and Keiko Higuchi's memorable nine-minute cover of the classic Japanese folk song, "Okesa Bushi". All tracks issued for the first time. CD version includes insert.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AKU 1016LP
|
LP version. Includes 24-page portfolio and download card. Seitō: In the Beginning, Woman Was the Sun gathers Japanese female artists from various electronic and experimental music fields. Like the Tokyo Flashback series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. Featuring: Fuji-Yuki's glommy folk song, Kiki Hitomi's haunted dub tune, Mikado Koko's deep house hit, Miki Yui's electoacoustic performance, Kakushin Nishihara's noisy folk track, Kuunatic's oriental psych blend, and Keiko Higuchi's memorable nine-minute cover of the classic Japanese folk song, "Okesa Bushi". All tracks issued for the first time.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FOX 011LP
|
Alternative Fox present a reissue of Joyce, originally released in 1968. The Brazilian singer-songwriter and guitarist Joyce Silveira Moreno was born and raised in the middle of Copacabana, a short beach stroll from the epicentre of the bossa nova universe. Her father was a Dane that had settled in Brazil, but she was raised by her mother and step- father in a typical Portuguese-Brazilian household. Since her older brother was friendly with leading lights of the bossa nova movement such as Roberto Menescal and Eumir Deodato, she was steeped in the form at an early age and witnessed its key evolution first-hand. At the age of 16 in 1964, she was taken to the studio by Menescal to contribute to the coveted debut album by the mythical group Sambacana, assembled to record the work of composer Pacífico Mascarenhas when the meagre budget would not allow the vocalists he preferred. Knowing that a full-time career in music was certainly not guaranteed, she began studying journalism in 1967, shortly before her controversial song "Me Disseram" reached the finals of Rio's second International Song Competition. The following year, her self-titled debut album was released by Philips, produced by Armando Pittigliani, with orchestration by Dorival Caymmi and arrangements by Gaya; along with her own compositions, the album also featured songs by her rising-star friends, including Caetano Veloso and Marcos Valle.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FOX 012LP
|
New York Contemporary Five: Live at Koncertsal, Copenhagen, 17.10.1963. The short-lived quintet known as the New York Contemporary Five had a lasting impact on the free jazz movement. It was formed in 1962 with trumpeter Don Cherry, who had been working with free jazz pioneer Ornette Coleman; tenor saxophonist Archie Shepp, who'd been working with Cecil Taylor, Gil Evans, and more recently, Bill Dixon; Danish alto saxophonist John Tchicai (whose father was Congolese), a former member of the quintet assembled by the poet and filmmaker Jorgen Leth, who moved to New York shortly before the Contemporary Five's formation; acoustic bassist Don Moore, who had played with Shepp and Dixon; and drummer JC Moses, who had played with Clifford Jordan and trumpeter Kenny Dorham. This rare performance, given at Copenhagen's Koncertsal on October 17, 1963, has epically-extended cuts of Don Cherry's "Consequences" and Ornette Coleman's "Emotions", plus a peppy take of Thelonious Monk's "Monk's Mood".
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FOX 013LP
|
Keith Jarrett: Live at Sendai Jazz Festival, Den-Ryoku Hall, Japan, 20.10.1986. The gifted American pianist Keith Jarrett is one of the jazz world's greatest musicians. Born in suburban Allentown, Pennsylvania in 1948 with a mixed European cultural heritage, Jarrett was a child prodigy that played piano at the age of two, appeared on television, aged five, and gave his first classical recital, aged seven. After studying at the prestigious Berklee College of Music, he moved to New York in 1964 to perform at the Village Vanguard and then joined Art Blakey's Jazz Messengers. Drummer Jack DeJohnette subsequently brought him into the Charles Lloyd Quartet, resulting in European tours, and when that group disbanded in 1968, Jarrett began fronting his own trio with bassist Charlie Hayden and drummer Paul Motian, and also began longstanding collaboration with Miles Davis, helping to shape noteworthy releases such as Live/Evil. From 1983, Jarrett's trio featured DeJohnette and former Albert Ayler collaborator Gary Peacock on bass, that version of the trio being the musicians featured on this beautiful concert staged at the Sendai Jazz Festival in 1986. Along with a sensitive rendition of showtune and Miles anthem "Stella By Starlite", highlights include a driving cut of Paul Desmond's "Late Lament" and a moving take of "I Remember Clifford", Art Blakey's memorial to trumpeter Clifford Brown.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FOX 014LP
|
Alternative Fox present a reissue of Mary Lou Williams's Black Christ Of The Andes, originally released in 1965. Pianist and composer Mary Lou Williams played with nearly every major jazz performer during her long, illustrious, and varied career, in addition to recording many solo works. Born Mary Winn in Atlanta in 1910 and raised in a "shotgun shack", where local musicians gathered to jam, she played by ear from a tender age and learned the boogie-woogie style upon moving to Pittsburgh with her older sister Mamie. While still in high school, Williams toured with the Theatre Owners' Booking Association, bringing her into the orbit of Earl Hines, Louis Armstrong, and blues singer, Irene Scruggs, among others; later, based in Kansas City during the 1930s, she began composing and recording solo work. After a stint at the Cotton Club, she formed a combo in Pittsburgh that featured Art Blakey, but was soon recruited by Duke Ellington and once back in New York, began jamming with Thelonious Monk and Charlie Christian at bop hotbed, Minton's Playhouse. Art Tatum, Count Basie -- you name it, she played with them! Black Christ Of The Andes is easily one of the most individual albums created by Williams, or anyone else in jazz, for that matter; recorded in New York in late 1963 and first issued on Williams's own Mary Records, the album has jazz explorations of divine concepts, delivered with suitably complex arrangements; "Anima Christi" and "Praise The Lord" both feature soaring assembly by Melba Liston, "The Devil" and the title track have elaborate choral voices from the Howard Roberts Singers, and instrumentals such as "Miss D. D." and "A Fungus Amungus" use her expert piano skills to shock, titillate and provide light relief.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
BIT 004EP
|
The first Bitterfeld Musik sampler featuring the three artists to have already released on the label, Leipzig's Interviews, Consulate, and Guy Contact from Perth, Australia and a new appearance from label co-owner, Carmel. Power electro through to breakbeat and trip house.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BDM 001LP
|
Hypnotic beats and melodies to put you in a trance. Formed in 2015, gaining the reputation of "the new Middle Eastern music pioneers" with 72 shows a year, weddings, and festivals -- people from diverse ethnicities, transcending musical borders and coming together on the dancefloor. Representing the region of Israel and Palestine, Dabke music with fresh mix of dub, Gnawa and trance from the hills of Jerusalem, to the dunes of the Sahara In a bass-heavy, 4X4 drive. The music of Blue Desert is based on the regional music styles. The repetitive hypnotic melodies, burning rhythms, and endless virtuosity takes the crowd into the deep dunes and oasis of the Blue Desert. Yossi Fine, bass master and producer, is one of the most well-known musicians and producers in the world today. Grammy-nominated, he's produced over 40 albums around the world, reaching 20 gold and multi-platinum albums. Yossi has produced, recorded, and played with David Bowie, Lou Reed, Gil Evans Orchestra, Vieux Farka Toure, and many more. Yossi plays bass and a special guitar he built, playing traditional songs and hits from the blue desert. Ben Aylon is defined as a boarder-breaking drummer and percussionist, best known for his unique "New-African Drumming" style and cutting-edge hybrid drumming techniques. Inspired by the deep Senegalese Wolof drumming, Ben creates explosive-burning rhythms with a sound of an entire tribe of drummers using African and modern drums. Ben has recorded and played with: Bombino, Doudou Ndiaye Rose, Awadi, Khaira Arby, and many more. Completing the band's sound is Sharon Mansur on synth-bass and keyboards, the princess of the Middle-Eastern keyboards. Sharon is at the forefront of the emerging new Middle-Eastern music style.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CF 019LP
|
Cien Fuegos present a reissue of Schlippenbach Quartet's Three Nails Left, originally released on FMP in 1975. Side A was recorded live at 3rd Jazz Festival Moers June 2nd, 1974 by Michael Krause. Side B was recorded live at the Quartier Latin Berlin, February 2nd, 1975 by Jost Gebers with the FMP Mobile Recording Unit. Personnel: Evan Parker - soprano and tenor saxophone; Alexander von Schlippenbach - piano; Peter Kowald - double bass; Paul Lovens - percussion. Produced by Jost Gebers. Remastered by Martin Siewert in 2019. Design by Paul Lovens; photo by Nick Leidner and Dagmar Gebers. 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CM 007LP
|
L.I.E.S. Records founder Ron Morelli departs the club to investigate atavistic ambient themes in his fourth solo LP and debut for the Paris-based Collapsing Market. For the first time on record, Morelli mostly mutes his drum track channels and allows his sounds to freely float in imagined air. In the process he crisply reveals a latent, introspective side to his music that's been missing or occluded by noise in his clutch of grubby sores issued by Hospital Productions since 2013 -- back when he changed his address from Brooklyn, NYC to the heart of the Parisian electronic music scene. As such the eight bony diffusions of Man Walks The Earth mark distance travelled from the gobs of 2013's Spit (HOS 407CD/LP), documenting a change of mindset from grizzled and paranoid to a more soberly contemplative and drily poetic expression of self. Composed during 2015-2018, the eight liminal zones of Man Walks The Earth see Morelli switch out immediacy and brashness for a more considered long view of electronic music. In key with his previous work it's a regression of sorts, but this time reaching back beyond industrial music to a primordial sound recalling Tod Dockstader dabbling at the GRM in "A Long Walk At Night", or Laurie Spiegel glimpsing unseen worlds in "Stone Tools", while album opener "Fear Upon Seeing His Reflection In The Lake" hearkens back to Delia Derbyshire and Daphne Oram's etheric, Radiophonic abstractions, and the parting beauty "The Sun Beats Stronger As Each Day Passes" recalls the enigmatic appeal of Chris Marker's sci-fi soundtrack for La Jetée (1962) as much as Jeff Mills' recent astral excursions. Following Collapsing Market's archival issue of Iranian classical music, iridescent electronics by Ssaliva, and the amorphous environments of Metta World Peace's Zanclean, Morelli's new album presents a compelling perspective on the binds between socio-economics and cultural aesthetics that's reflected in the LP's sleeve art, Morelli's own photo taken from the 86th floor of One World Trade Center, New York, detached and reframed by Ethan Assouline, characterizing the basic human will to rebuild, only to destroy again.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CTI CTV2019LP
|
LP version. Triumvirate = the combined power of a group of three in creative collaboration. Carter Tutti Void (Chris Carter, Cosey Fanni Tutti, and Nik Void) have announced their third and final studio album. Containing all new studio recordings, Triumvirate brings Chris Carter, Cosey Fanni Tutti, and Nik Void's collaborative partnership as Carter Tutti Void to a conclusion. The trio first came together as a collective for a live performance, invited by Mute for the Short Circuit Festival in 2011 and released their acclaimed debut, the live album Transverse the following year. Carter Tutti Void went on to release f(x) (IRCTV 001CD/LP, 2015), their first studio recording and performed a handful of selected shows, culminating in their final live performance in Hull, part of a series of events for Hull City of Culture 2017 centered around the COUM Transmissions retrospective at Humber Street Gallery. For some time Carter, Tutti, and Void have been awaiting an opportunity when all three artists were able to gather at Carter and Tutti's Studio47 in Norfolk, where the album was recorded, produced, and mastered. Triumvirate was approached with the improvisational spirit of previous Carter Tutti Void albums. The rhythms, created by Chris Carter, formed the foundation and starting point from which the process began of melding the live instrumentation of Cosey Fanni Tutti and Nik Void's searing guitars, vocals, effects and the arsenal of sounds each had amassed from a variety of sources, some sounds manipulated to extremes, all fed into the mix. Tying the album together is the power of three, and a free open approach to sound shared by the trio.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIEV 001EP
|
Deep into the night, Dievegge Recordings makes her first appearance by showing off her findings on vinyl only. Behind the first mask hides Amsterdam crate digger Ouvrijster, delivering a real treasure on the black gold. "Fane Jonda" tears up the dancefloor with an unstoppable funky bass line and heavy stabs. "The Great Escape" drags you deeper into the night with Detroit-oriented sounds, on-going grooves, and dark yearnings. "Drunk Punch" turns things sideways and hits you where you need it the most. Dusty basement drums, rich undulating sounds and vocals that tell it as it is.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIRT 120LP
|
For Dirt Crew's fourth installment of the Roar Groove meets Dirt Crew series, the label presents a new set of shimmering and dubbed-out The Revenge cuts. After the last episode, Graeme has been very busy working his "live" studio setup to come up with a whole range of new jams of which the label has selected four tracks. Dirt Crew think these tunes best represent his unique style and once you hear these in a club you instantly know "That's a Revenge Tune", something the label have always loved about his sound. The opening "Like an Ending" is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic house keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam. "Work Out Right" is all about those good times and it's reminiscent of early '90s "French Touch", filtering house at its best, it keeps running around in your head and with its slower pace, sure to do especially well on the early morning dancefloors and high summer, sun-drenched beaches. On the other side you enter darker and more dubbed-out territories. Here is "We Have So Much We Can Gain" in Graeme's words: "This one had been knocking around for a couple of years in various forms, but it wasn't really until I stripped it all back and let the arpeggiated synth do its thing that it really seemed to gel. It's really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way." And how can you not love that marimba?! This track is like a spaceship floating the skies and eventually touching down. To close out this new work, you have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it's a true dub house track.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DAD 144LP
|
Down At Dawn present a reissue of Miles Davis's Kind of Blue, originally released in 1959. One the most beautiful and essential albums of all times. The 1959 Miles Davis masterpiece is one of those rare pieces of art beyond ages and genres. A must have for any musically sensitive human being on earth. Personnel: Miles Davis - trumpet; John Coltrane - tenor sax; Cannonball Adderley - alto sax; Bill Evans and Wynton Kelly - piano; Paul Chambers - bass; Jimmy Cobb - drums.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FIGURE X010EP
|
Figure has invited a group of artists to contribute new takes of stand-out cuts from Roman Poncet's 2018 debut LP, Gypsophila (FIGURE 002LP, 2018). Antigone turns in a dust-shaking flurry of tribal drumming, ceaselessly pounding and rattling away for an exhilarating and at the same time grounding rhythmic experience. Efdemin blends a bunch of lively elements into one wildly roaming remix. Margaret Dygas adventurously goes on a trip of finely-tuned acoustics, an enthralling piece of enchanted electronica. Evocative, emotional and of serene beauty, Echoplex closes the collection with an epic track, led by grand strings and flute-like synths.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
FJ 017EP
|
Legendary DJs Hans Nieswandt and Eric D. Clark team-up and boldly declare: let there be protest disco. And here it is: "Work Work Work" and "No More Hatin' & Trashin'", with original versions by the two Whirlpool Productions heads, plus hot remixes by Marcel Vogel and Phonk D. Four tracks of positive power for the people.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GOG 002LP
|
Brix & The Extricated return with Breaking State, on which they have pushed the sonic boundaries set by their debut, Part 2 (2017). While retaining much of what was loved about Part 2, this record demonstrates musical muscle and rapid growth of artistic intent. While the sonic thread of their time in The Fall is still clearly evident, there are many surprises and unexpected corners throughout Breaking State. This album is packed with seriously infectious choruses and killer guitar work. Each of the ten songs is rifled with the gut-wrenching power chords, driving riffs and technical dexterity of Jason Brown's guitar contrasted against the delicate beauty of Steve Trafford's moody, atmospheric, transportative soundscapes. Transparent purple vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
HD 021CD
|
Silver Eater sees Grace Lightman work in collaboration with longtime mentor and co-writer, Patrick J Pearson as well as Ben Baptie (Moses Sumney, Young Fathers, Puma Blue, Lady Gaga) who produced the album. Grace describes her sound as one part ABBA, two parts Twin Peaks, and beginning her solo career with a flurry of stellar releases, including "Fangs" which garnered her a wealth of fans as well as praise from the likes of NME, Clash, and The Line of Best Fit and saw her perform shows throughout the UK and Europe.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
HOS 467LP
|
Restocked, last copies. One of Prurient's most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this gatefold reissue on Hospital Productions, ten years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007. Pleasure Ground stands as a key part of Prurient's golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (HOS 232CD/HOS 410LP, 2008), its immolating rage renders Ian Dominick Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse, with the majestic, meditative inspirations of black metal and a more personalized bloodlust for unheimlich synth tones and pulsating electronic undercurrents. Its four long tracks are riven with the paradoxes that make Prurient's music so compelling and practically a genre unto itself, meting out a sound in "Earthworks / Buried In Secret" that's simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in "Apple Tree Victim" that appeals far beyond the bombed-out no-man's land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of "Military Road" - one of his finest moments, bar none - and cold-wave pop and fetishistic synth themes in "Outdoorsman / Indestructible". If you're willing to bite down, you will find a depth of bittersweet flavor submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss. Ultimately though, there's no mistaking that in the end Pleasure Ground is just unflinchingly fucking heavy. Housed in a deluxe, reverse-board gatefold sleeve. Mastered and cut by Barry Grint at Alechemy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IDA 100CD
|
Showcasing versatile and highly productive talents David Chalmin has quite an impressive repertoire as a producer and recording engineer. Stretching from classical music to avant-garde, Chalmin has worked with Shannon Wright, The National, Katia & Marielle Labèque, Matt Elliott, The Third Eye Foundation, Zu, Angélique Ionatos, Gaspar Claus, Richard Reed Parry, or Efterklang. If the genres intelligent dance music (IDM) and Berlin school seem to be the most obvious way to present his compositions, they're not sufficient to describe the variety of this album La Terre Invisible as it also contains industrial or classical inspirations. One thing is certain though, David Chalmin can proudly place his first solo album next to the likes of Jon Hopkins, Pantha du Prince, or Andy Stott, for his contemporary approach of dancefloor music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IDA 100LP
|
LP version. Showcasing versatile and highly productive talents David Chalmin has quite an impressive repertoire as a producer and recording engineer. Stretching from classical music to avant-garde, Chalmin has worked with Shannon Wright, The National, Katia & Marielle Labèque, Matt Elliott, The Third Eye Foundation, Zu, Angélique Ionatos, Gaspar Claus, Richard Reed Parry, or Efterklang. If the genres intelligent dance music (IDM) and Berlin school seem to be the most obvious way to present his compositions, they're not sufficient to describe the variety of this album La Terre Invisible as it also contains industrial or classical inspirations. One thing is certain though, David Chalmin can proudly place his first solo album next to the likes of Jon Hopkins, Pantha du Prince, or Andy Stott, for his contemporary approach of dancefloor music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IDA 134CD
|
The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy Briant of Tortoise), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the "debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess?" seems to be suggested by the title of this new album Ain't That Mayhem and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds, and instruments are used... There is trombone on the insistent instrumental "We Blew It" and even a kind of liturgical organ at the end of "Five Vs Six". The whole album catches hold of you with its hypnotic layering ("Deranged", "Myself As A Fool"), a chorus in unstable equilibrium ("Fake From The Start"), an unstoppable rhythm ("Marathon Woman", "Walking Force"), a singular tone of voice (the almost blues-like "Alligator Wine" borrowed from Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and sensations ("Recife, 1974"). Just like the old manor that serves as a backdrop to this record, you might wonder how it all remains standing.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
IDA 134LP
|
Double LP version. The Lyon band's recent collaborations with Virginie Despentes and Béatrice Dalle put them in the spotlight they deserved but this is just the latest chapter of a story started when they were young more than 25 years ago by Eric Aldéa and the drummer Franck Laurino. In the Deity Guns (89-93) and Bästard (93-98) and in a handful of albums (including productions by Lee Ranaldo of Sonic Youth or Andy Briant of Tortoise), they were simply the pioneers of post-rock in France. And yet the chapter that arrives today almost resembles the "debut album" of a young band shot through with a fiery and insatiable desire to take on the world. A complex, distressing and oppressive world which is nonetheless rich in its very confusion. "Isn't it all a bit of a mess?" seems to be suggested by the title of this new album Ain't That Mayhem and its striking post-apocalyptic graphic art. There are no limits and who cares what tools, sounds, and instruments are used... There is trombone on the insistent instrumental "We Blew It" and even a kind of liturgical organ at the end of "Five Vs Six". The whole album catches hold of you with its hypnotic layering ("Deranged", "Myself As A Fool"), a chorus in unstable equilibrium ("Fake From The Start"), an unstoppable rhythm ("Marathon Woman", "Walking Force"), a singular tone of voice (the almost blues-like "Alligator Wine" borrowed from Screamin' Jay Hawkins), a guitar riff as simple as a tree that hides the forest of variations, advancing from behind to play with neurons and sensations ("Recife, 1974"). Just like the old manor that serves as a backdrop to this record, you might wonder how it all remains standing.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
IDA 137CD
|
In 1991, aged 75, Moondog was about to embrace his singular identity, somewhere between druid, mad scientist, and young child. Having left the beaten track well before, and broken down barriers between musical genres, the ancient moderne Moondog was about to push paradox and anachronism even further and create the cult concept-album Elpmas. Elpmas is at once a satire of technology, music that takes its pulse from Native American pow-wows and cleverly composed pop music. Made with state-of-the-art computers, it is a manifesto against the atrocities inflicted on indigenous people. It is also an ode to Nature and an invitation to travel, themes that are still as immensely popular today. In order to perform and revisit Elpmas, Ensemble 0 and their guests have had to explore the 247 pages of the record's score. The original was mostly recorded note by note, but here the musicians play their parts simultaneously, as one would any classical score. Every sound has been meticulously re-recorded and some of the parts have been rearranged so that they could be played by instruments, and avoid digital treatment, other than the final summing of the tracks. The cold digital feel of the original has been counterbalanced by the analog warmth we have wanted to breathe into it.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
ITR 331EP
|
"Richard Rose is a band -- not a person. They are a brand new southern Californian based outfit who have just recently started playing out live. They are fronted by Lawrence Rose (aka Chris Shaw -- vocalist of Ex-Cult and GØGGS) and Thomas Rose (aka Orville Neeley -- guitarist of OBN III's and Bad Sports) and play a pummeling, Stoogeoid-brand of rock 'n' roll that's not afraid to stretch out and go long. This is Richard Rose's debut release -- a four song 12-inch slab of vinyl that is designed to melt faces."
|
viewing 1 To 25 of 68 items
Next >>
|
|