|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 77 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
BBCD 060CD
|
Acid Mothers Temple & The Melting Paraiso U.F.O. return with Sacred And Inviolable Phase Shift. One of the greatest Japanese psychedelic bands has a new studio album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BEC 5543702
|
Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. Heroes To Zeros is the third and final studio album by The Beta Band released in 2004. It was mixed by famed producer Nigel Godrich and rose to number 18 in the UK charts. Three-panel digisleeve with 12-page poster booklet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
BEC 5543811
|
Les Negresses Vertes' retrospective C'est Pas La Mer A Boire (1987-1993) features the tracks "Voilà l'Eté", "Zobi La Mouche", "Sous Le Soleil De Bodega", "Face À La Mer, and more. Taking a punk-like approach to a mixture of Latin, rai, and folk music, Les Negresses Vertes create an infectious dance music. Initially comprised of family members, friends and lovers, Les Negresses Vertes have come a long way since their earliest performances. Although most members of the band didn't play an instrument until coming together in late 1987, the group evolved into a very exciting ensemble. Les Negresses Vertes' climb to world-wide success has not come easy. On January 22, 1993, the group's lyricist, Noel Rota, best known as "Helno" and "Helno Rota De Lourcqua," died while attempting to overcome a serious drug addiction. Rota's twin brother, Ritter/Thierry, continues to perform with Haine Et Ses Amours. Since Rota's death, guitarist/vocalist Stefane Mellino and accordionist/vocalist Matthias Canavese, also known as Canavese and Matias, have assumed his role in the front line of Les Negresses Vertes. A native of Algeria, Mellino has lived in Paris since the early 1980s. During the six years before the band was formed, he spent his summers working in his parent s' fishing net business and played with bands in Paris the rest of the year. The youngest member of Les Negresses Vertes, Canavese inherited much of his talent from his father, a laborer who became an entertainment promoter at the age of forty and now directs a circus school. Although he trained as an acrobat, he was forced to seek other avenues of expression following an accident. Other members of Les Negresses Vertes include guitarist, bassist and vocalist Jean-Marie Paulus, trumpet/trombone player and vocalist Abraham Sirinix, and pianist, guitarist and vocalist Jo Roz.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3CD/DVD/Book
|
|
BEC 5543812
|
Les Negresses Vertes' retrospective C'est Pas La Mer A Boire (1987-1993) features the tracks "Voilà l'Eté", "Zobi La Mouche", "Sous Le Soleil De Bodega", "Face À La Mer, and more. Taking a punk-like approach to a mixture of Latin, rai, and folk music, Les Negresses Vertes create an infectious dance music. Initially comprised of family members, friends and lovers, Les Negresses Vertes have come a long way since their earliest performances. Although most members of the band didn't play an instrument until coming together in late 1987, the group evolved into a very exciting ensemble. Les Negresses Vertes' climb to world-wide success has not come easy. On January 22, 1993, the group's lyricist, Noel Rota, best known as "Helno" and "Helno Rota De Lourcqua," died while attempting to overcome a serious drug addiction. Rota's twin brother, Ritter/Thierry, continues to perform with Haine Et Ses Amours. Since Rota's death, guitarist/vocalist Stefane Mellino and accordionist/vocalist Matthias Canavese, also known as Canavese and Matias, have assumed his role in the front line of Les Negresses Vertes. A native of Algeria, Mellino has lived in Paris since the early 1980s. During the six years before the band was formed, he spent his summers working in his parent s' fishing net business and played with bands in Paris the rest of the year. The youngest member of Les Negresses Vertes, Canavese inherited much of his talent from his father, a laborer who became an entertainment promoter at the age of forty and now directs a circus school. Although he trained as an acrobat, he was forced to seek other avenues of expression following an accident. Other members of Les Negresses Vertes include guitarist, bassist and vocalist Jean-Marie Paulus, trumpet/trombone player and vocalist Abraham Sirinix, and pianist, guitarist and vocalist Jo Roz. Deluxe three CD+DVD edition includes 120-page book on the band's history with pictures, commentary texts, notes and sketches from the band's archives, a bonus disc with exclusive B-sides, demos and live versions, and a DVD with two previously unseen concerts, and their music videos from 1987 to 1993.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BT 009LP
|
Limited 2018 repress; LP version. "Following on from 2012's acclaimed Imikizushi (BT 007CD/LP), Now While It's Still Warm Let Us Pour in All the Mystery is the fourth release from the established power trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi, recorded in January 2012 at their yearly concert at SuperDeluxe, Tokyo. While the trio's two previous double LP releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. The record begins with the trio joined by special guests Charlemagne Palestine and Eiko Ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to Haino's angelic vocals. This 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from Haino, is steeped in the same mysterious atmospherics as Haino's great folk-drone project, Nijumu. When Haino turns to the flute on the LP's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that Haino has developed from traditional Japanese aesthetics, O'Rourke and Ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. When the trio returns to the crushing free-rock of their last two records, O'Rourke's heavily effected bass rolling alongside Ambarchi's tumbling rhythms as Haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. Now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- O'Rourke and Ambarchi instantly locking into solid riffs over which Haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. When the trio slow down and stretch out, the rhythm section plods like an abstracted Crazy Horse on the brink of collapse, and Haino elicits long, mournful solos reminiscent of the first classic Fushitsusha double live LP. Perhaps more accessible than the trio's previous recordings because of its range and concision, Now While It's Still Warm... exudes the dark, alien quality of Haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. --Francis Plagne, Jan 2013." Limited edition LP in a lavish gatefold with a printed inner sleeve. Design by Stephen O'Malley with high quality live shots by Ujin Matsuo and stunning artwork by Shunichiro Okada.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BBS 009CD
|
It's ten years that The Rongetz Foundation is hanging around the five boroughs. Ten years of wonderful jazz-tainted recordings, with Gary Bartz, Gregory Porter, Corey Fonville, and Ronnie Cuber, to name a few, "stained" with the grit of soul and funk music that Rongetz (aka Stephane Ronget) likes to bring to the table. This album, Alphabet City Music Club is a marvelous example of that stylish balance established in between raw and sophisticated feel. The place of the recording first, Alphabet City, is a genuine inner town in Manhattan that was for long time defined like this: "Avenue A, you're Alright. Avenue B, you're Brave. Avenue C, you're Crazy. Avenue D, you're Dead". There are two sessions that are part of the album: one is very much jazz-funk oriented with Corey Fonville (drums), Corcoran Holt (bass), Mathis Picard (keys), Morgan Guerin (tenor sax/EWI), and Erena Terakubo (alto sax/flute). The other one spreads soul music all around with: Homer Steinweiss (drums), Jeremy Kay (bass), Kyle Koehler (organ), and Guerin (tenor sax). The two sessions, ultimately came together with the help of talented young vocalists Alina Engibaryan (Snarky Puppy), Vuyo Sotashe, Vanisha Gould, Lewis Parker, and Mr Day. Mix all those elements in a rusty blender and you will enjoy the bootleg Bourbon, hard shake that is Alphabet City Music Club.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BBS 009LP
|
LP version. It's ten years that The Rongetz Foundation is hanging around the five boroughs. Ten years of wonderful jazz-tainted recordings, with Gary Bartz, Gregory Porter, Corey Fonville, and Ronnie Cuber, to name a few, "stained" with the grit of soul and funk music that Rongetz (aka Stephane Ronget) likes to bring to the table. This album, Alphabet City Music Club is a marvelous example of that stylish balance established in between raw and sophisticated feel. The place of the recording first, Alphabet City, is a genuine inner town in Manhattan that was for long time defined like this: "Avenue A, you're Alright. Avenue B, you're Brave. Avenue C, you're Crazy. Avenue D, you're Dead". There are two sessions that are part of the album: one is very much jazz-funk oriented with Corey Fonville (drums), Corcoran Holt (bass), Mathis Picard (keys), Morgan Guerin (tenor sax/EWI), and Erena Terakubo (alto sax/flute). The other one spreads soul music all around with: Homer Steinweiss (drums), Jeremy Kay (bass), Kyle Koehler (organ), and Guerin (tenor sax). The two sessions, ultimately came together with the help of talented young vocalists Alina Engibaryan (Snarky Puppy), Vuyo Sotashe, Vanisha Gould, Lewis Parker, and Mr Day. Mix all those elements in a rusty blender and you will enjoy the bootleg Bourbon, hard shake that is Alphabet City Music Club.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 313CD
|
Bureau B presents a reissue of Carl Matthews' Call For World Saviours, originally issued in 1984. Mesmerizing DIY electronic music from Cumbria, UK, influenced by the Berlin School but even more by Tim Blake, Call For World Saviours was originally released 1984 on cassette only; this is this music's first time on CD and vinyl.
"Carl Matthews is by no means immune to the maelstrom of geocaching notebooks. Krautrock (tick), guerrilla DIY cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. Tick. Best of all, he was once described as the Edgar Froese of Cumbria. The Tangerine Dream legend needs no introduction, but the Cumbrian question deserves further scrutiny. In spite of the irresistible urge felt by many to claim Matthews for the Berlin School, this is unquestionably an artist who wrote music far from the madding krautrock crowd. Instead, he worked in isolation, splendid or otherwise. The question remains, is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster, and Tangerine Dream? 'I was at a crossroads in my life aged 28, early influences were krautrock: NEU!, Kraftwerk, Cosmic Jokers, etc. One day, I was listening to Tim Blake, and my inner voice said ''I can do that!'', Carl recalls. Whilst his music clearly bears the hallmarks of superb craftsmanship -- his mesmerizing soundscapes more than a match for any of his contemporaries -- Carl Matthews was, and still is, a truly independent artist, from the means of production to the published recordings. If it is possible to identify a scene along the lines described above, Matthews was not part of it. 'I was totally alone in doing this; no one was interested in my musical taste at that time. As far as I know the electronic/new wave music scene in Carlisle was virtually zero.' Happily for fans of his music, recent years have seen a resurgence in activity. Unwaveringly self-effacing, Carl Matthews continues to make music which is liberated from the constraints of ego, allowing one to wander the magnetic fields of his imagination. Today, in his own words, he is 'an old guy who likes making sounds for library/production companies', which says it all, really. The signs are all there in Call For World Saviours, music which is both timeless and very much of its time, a disappearing act on the part of its creator whose character nevertheless resonates in every note." --Harry Calvino.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BWP 002CD
|
Black and Supersonic, the second Monolith Grows! (ex-Monolith) record, is a violent and angry disc. Stoner and grunge sonority that progressively blend together. It's Seattle that projects itself into the hyperspace, into the cold lunar deserts, through rains of monolithic meteorites. It's a comics tribute to the superheroes of rock n' roll, to the fallen deities but also a grim and grotesque look at the contemporary society. Black and Supersonic is the first chapter of a Marvellian saga and its protagonists are scratchy riffs, edgy rhythms, and a powerful and Cornellian voice.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BWP 003CD
|
The Moonshine Brand present On The Waves of Time. Take a rest from your thoughts and ride them waves! With a calm mind comes a sense of freedom, but being free is not a mindless game. Free are those who embrace the riddle of the world. Surf the ocean inside your mind. Know the waves from rogue to ripple. Now close your eyes again and feel the wind. The wind is time. Eight songs for any tide, dealing with the way of the world and what it might become. Good handmade stoner blues rock music for the old-time future.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CHUTE 501CD
|
Sounds is the CD version of Spare Snare's (nearly) sold out earlier release on vinyl (CHUTE 501E-LP, 2018). Spare Snare combine Joy Division's intensity -- especially with, despite his heavy accent, Jan Burnett's blunt, Ian Curtis-like delivery -- and a likeable C86 (1986) amateurism. They deserve more than Scotland's best kept secret status. A short introduction for the uninitiated: Spare Snare hail from Dundee, Scotland, and released their first 7" in 1992. Their twelve albums have all been released or licensed on their own Chute Records over the past 25 years.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CLOUDS 111CD
|
The story of Tom Allan, whose song "Sensation" made a BBC moderator describe him as "the modern day Billy Bragg" starts off in Bury St Edmunds, a small town in the east of England. Tom grew up as the son of a German mother and a British soldier. His fifth birthday present is a drum kit. A couple of years later he takes lessons. When Tom comes home from school, he often finds piles of CD's, cassettes and vinyl records from acts like Elvis Costello, The Clash, Sex Pistols, and Stereophonics on the dinner table with a post-it from his father saying "Listen to this!". Later on Tom teaches himself to play guitar, bass, harmonica and piano. Listen closely because this boy has some stories to tell! Tom is now 25 years old and he has shared stages with the Undertones, Glen Matlock (Sex Pistols), TV Smith, and The Ruts. Tom is a skinny, good looking and well-dressed young man. His accent reveals his working-class heritage and not only visually, he would fit in the line-up of British guitar-bands like The Libertines or Arctic Monkeys. This is where the story of Tom Allan as a solo artist ends, but it marks the beginning of Tom Allan & The Strangest! It is one of those nights in a pub: open mic-session, having a few pints and Tom meets Evan Beltran who is causing a stir as The Strangest. Being on the same wavelength doesn't even closely describe what happens next because both of them are the perfect match. They share the same heroes from the cultural history and they have the same ambitions. The Mexican guitarist and the half British / half German songwriter decide to join forces that same night. Along with their band they play handmade rock'n'roll, following the path of Oasis, The Libertines, and The Clash. Together, they have now recorded their debut album, Dear Boy in Hamburg. Are Tom Allan & The Strangest the future of rock'n'roll? Who knows? And most of all, who cares? What is sure is that they, who dream of bringing back honest energy, melodious hook lines wrapped up with rough guitar sounds, melancholy and most of all attitude to the pop world, are highly talented young musicians and lyricists who can take the best from the recent history of music and modernize it and transport it to the present age.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
EMEGO 260EP
|
Snapshot release by new Editions Mego signing, the Bristol-based Finlay Shakespeare. Routine is a twitchy electro monster confronting the listener with a worked up a blend of AFX, Cabaret Voltaire, and New Order. The B-Side "Perris" propels itself as a crazed analog drama that is as ambitious as it is unholy. Simultaneously a modern throwback to the brooding synth pop age and an absolute belter in the contemporary mainframe, Finlay Shakespeare has made it quite clear, that he is here.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ESPDISK 5013CD
|
Chicago power-jazz trio Tiger Hatchery proudly comes out of the ESP-Disk' free jazz tradition, as Mike Forbes's playing makes clear, but there's an added noise-rock edge, especially in Ben Billington's aggressive drumming, that keeps the sound modern. Andrew Scott Young does much more than lay down the bottom, emerging as an equal member of their glorious cacophony. Their 2013 ESP release, Sun Worship (ESPDISK 5003CD/LP), earned huzzahs from press and free-jazz aficionados. Personnel: Mike Forbes - saxophones; Andrew Scott Young - basses; Ben Billington - drums. RIYL: Albert Ayler, Peter Brötzmann.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ESPDISK 5013LP
|
LP version. Chicago power-jazz trio Tiger Hatchery proudly comes out of the ESP-Disk' free jazz tradition, as Mike Forbes's playing makes clear, but there's an added noise-rock edge, especially in Ben Billington's aggressive drumming, that keeps the sound modern. Andrew Scott Young does much more than lay down the bottom, emerging as an equal member of their glorious cacophony. Their 2013 ESP release, Sun Worship (ESPDISK 5003CD/LP), earned huzzahs from press and free-jazz aficionados. Personnel: Mike Forbes - saxophones; Andrew Scott Young - basses; Ben Billington - drums. RIYL: Albert Ayler, Peter Brötzmann.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ESP 013CD
|
Espacial Discos presents a first-ever reissue of Minx/Zimmerman's self-titled album from 1985. This fabulous Dutch minimal synth/wave duo were comprised of Don Minx (Marq van Broekhoven, now a well-known comic artist) and Aldomir Zimmerman (Tonnie Eiting), two friends from the city of Eindhoven, who were into comics, avant-garde music and homemade cassette recordings. Influenced by diverse bands and artists such as John Foxx, Brian Eno, Fad Gadget, Sparks, or Devo (among many others), they decided to release an album. Minx/Zimermman was the result, self-released on their Freudian Backroom label, now very sought-after by minimal wave collectors. Insert with liners, lyrics and rare photos. RIYL: Ceramic Hello, Iron Curtain, Geoffrey Landers, Fad Gadget.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 207CD
|
Far Out Recordings presents a reissue of Eumir Deodato's Ataque, originally released in 1965. One of Brazil's most prolific artists, Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone. After moving from Rio de Janeiro to New York in the late 60's, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind, and Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim, and Bjork, to name a just a few. Before that, a young Deodato had already cemented his status in Brazil as one of the country's top musical minds. In the mid-sixties, when he wasn't working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedráticos. A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato's own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell, and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and is given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion. An elusive album in the canon of killer, groovy Brazilian music, with vinyl copies near-impossible to find for less than three digits, Ataque finally gets the official Far Out reissue treatment in being remastered from the original tapes. Now available for the first time outside of South America. Personnel: Eumir Deodato - leader, arrangements, conductor; Maurílio Santos - trumpet; Walter Rosa - tenor sax; Aurino Ferreira - baritone sax; Edson Maciel - trombone; Ruebens Bassini - congas, pandeiro; Humberto Garin - guiro; Jorginho Arena - congas; Sergio Barroso - baixos; Wilson Das Neves - drums; Geraldinho Vespar - guitar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FVR 144CD
|
Favorite Recordings presents Jongler, the first album by Pat Kalla, produced by Bruno "Patchworks" Hovart. Pat Kalla is a musician, singer and storyteller. Patrice is his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course, he was born in Lyon, to a Cameroonian father, musician and political activist, and a French and literary mother. On Jongler, he explores from his childhood the soul, the slam, the funk ...and the art of telling stories, life being a great one. After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), several acclaimed tracks on two albums by Voilaaa (FVR 107CD/LP, 2013 and FVR 132CD/LP, 2017) and recently an acclaimed first EP revealing some hot singles such as "Lady Angola" or "Ancien Combattant", he comes back with this project to put a bit of primordial lightness in a rainy world. Jongler is a tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa. Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' music has turned on the family turntable and the collection whetted the child's appetite. Through this new trip, Kalla revisits styles that are sometimes little-known to Western audiences, such as high life, makossa, Angolan music, afrobeat, afro-disco, and others. One could talk about "Franc CFA", one could talk about Jacques Foccart, but it's better to dance, because "the dancer seems naive, but his feet must be connected with earth to understand history." Backed by the Super Mojo Disco, a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware; "c'est medicament" (it's medicine)!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
FVR 144LP
|
Double LP version. Gatefold sleeve. Favorite Recordings presents Jongler, the first album by Pat Kalla, produced by Bruno "Patchworks" Hovart. Pat Kalla is a musician, singer and storyteller. Patrice is his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course, he was born in Lyon, to a Cameroonian father, musician and political activist, and a French and literary mother. On Jongler, he explores from his childhood the soul, the slam, the funk ...and the art of telling stories, life being a great one. After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), several acclaimed tracks on two albums by Voilaaa (FVR 107CD/LP, 2013 and FVR 132CD/LP, 2017) and recently an acclaimed first EP revealing some hot singles such as "Lady Angola" or "Ancien Combattant", he comes back with this project to put a bit of primordial lightness in a rainy world. Jongler is a tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa. Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' music has turned on the family turntable and the collection whetted the child's appetite. Through this new trip, Kalla revisits styles that are sometimes little-known to Western audiences, such as high life, makossa, Angolan music, afrobeat, afro-disco, and others. One could talk about "Franc CFA", one could talk about Jacques Foccart, but it's better to dance, because "the dancer seems naive, but his feet must be connected with earth to understand history." Backed by the Super Mojo Disco, a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware; "c'est medicament" (it's medicine)!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 305LP
|
"Patriots is the first actual vinyl record dedicated entirely to the music of Boston's boss post-core art-punk trio, (New England) Patriots. Their other two long players are splits, with Palberta (FTR166EP, 2015) and Skimask. And while those two bands are certainly estimable in their own rights, the unadulterated churn of (NE) Patriots gives this album a very special squirm. Certain aspects of the blabber still make me think of the late, lamented Cows, and their whole whizzing raunch shebang. But there's nothing in my personal listening history that has this exact brand of sonic adventurism. The Pats still just use guitars, drums and tongues at work in shaping their sounds (certain bass register tones being ascribed to fat strings, perhaps?), and they have a beautifully anarchic approach to song assemblage. Some of the tunes stretch out like worms in Gibby Haynes' colon, others are compacted the way the Hobson Brothers' nut sacs might have if they'd given each other cube-dunks back in Killdozer's heyday. A firm and mighty sound." --Byron Coley, 2018. Numbered edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 400LP
|
"... When I first met Chris, Jess and Dan, they were all living in Western MA and I was in Eastern MA. And when they recorded this album in the Pacific Northwest, I had just moved to the Pacific Northwest. Though Chris and Jess had lived and created music in the Bay Area and Portland, Maine prior to their tenure in Western MA and have since moved back to the Bay Area, their music (Fat Worm of Error, Angst Hase Pfeffer Nase, Schurt Kwitters, White Limo) came to define certain aspects of the Western MA 'noise' scene of the late '90s/early aughts... while Dan Greenwood's music as Diagram A came to define an almost photonegative of these qualities, sharing some of the absurdity, conceptualism and instability with an added intensity, viscerality and violence . . . Once in Washington, they recorded multiple sessions of Chris' floortop guitar and electronics, a guitar Dan had modified with motors and springs, Dan's homemade cracked electronic circuitry, and one of Seattle instrument builder Dave Knott's stringboards. Combined with these were recordings made in and around Port Townsend's historic, decaying military installation at Fort Worden State Park, including recordings in Fort Worden's legendary two-million-gallon cistern, which has a dizzying 45 seconds of natural reverb. The cistern is well known as being the recording site of the very first Deep Listening Band album by Pauline Oliveros, Stuart Dempster and Panaiotis, released in 1989. Chris, Jess & Dan brought down an analog synth, a clarinet, a Marantz tape recorder (and some tapes) and wandered throughout the cistern's roughly 200-foot diameter. Side one begins and ends with a heavy emphasis on skittery, sometimes abrasive, anxiously controlled electronics, particularly the idiosyncratic sound of Dan's crackling devices. Things become more mechanistic and open before offering a glimpse of the cistern recordings which will come to dominate side two, but the side closes out with more sonic steel wool. This serves to highlight the spaciousness of side two. The group utilizes the unique acoustic properties of the cistern to great effect, allowing the sounds to activate the space's resonance and then step aside. Amidst this Gothic cathedral of reverberating tones are delicately interwoven recordings of trains and thistly electronics creating a palpable foreground and background . . ." --Greg Kelley, Seattle WA, 11:11pm, 11/11/18
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 405LP
|
"You know that old phrase, 'Teach a penguin to cuss, and you'll never have to buy another comedy record' I'm sure you do. But what about its codicil? 'Teach a guitarist to play synth, and you'll never have to buy a new age record?' If you know that one, you might well be put off by the fact this album features one of New Zealand's most wickedly post-tongue guitar players fiddling about with oscillators and analog synths (in concert with a guy who does this stuff all the time). But you need not fear. The only New Age being brunted about here is the same one Fahey disemboweled back in '97. An ornery cuss, it has lived in the cracks some-damn-place, only re-emerging now that it has been called forth by Bruce Russell and Noel Meek. Much of the sound on Classical Music (how Fahey would have loved everything about this record!) makes me think of Chris Marker's classic film, La Jetée (1962). As you certainly recall, the central motif in that film is the main quay at Aéroport de Paris-Orly, where visitors gather to watch the jets land and take off (just as I did at New York's Idlewild Airport when I was a kid). Well, particularly on the second side, this record is a jolt of aural déjà vu for me. If I close my eyes I can almost see a parade of 707s and DC-8s careening around the flats of Long Island, missing collisions by what seem like a series of miracles to me. Mr. Russell's last LP for us was 2016's Howling and Instability at High Volume Settings (FTR 219LP), and it is a sheer pleasure to realize how unstable he can be on instruments besides the guitar. Mr. Meek is wildly successful at this as well, and the combination is as bracing as an early morning slap of Old Spice. Step up for blast of Classical Music-style reality today. You'll be oh-so-glad you did." --Byron Coley, 2018. Edition of 250.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 413LP
|
"Newly remastered reissue of Willie Lane's 2009 solo guitar LP, Known Quantity, originally released on his own Cord Art label. Over the last few years, this album has been requested at the store more often than just about any other, but it sold out not long after it was issued and has risen in price consistently since that time. Listening to Known Quantity, it's not hard to understand why it has such a strong rep. Lane came out the Hampshire College scene that aligned itself with the Apostasy Records crowd (Krefting, Shaw, Rosenblum, etc.). His first known recordings were actually with some of the noisier experimental units associated with this cabal. Willie was based in Philadelphia for a long time after college, where he fell in with Jack Rose and the whole Fishtown scene of the early Oughts. Moving back to the Valley, Willie also began working with Matt Valentine's tribe, and his first solo album,Recliner Ragas, was issued as a C.O.M. CDR in 2006 before getting vinylized by the Humito label in 2012. And keen listeners out there will detect a certain "Spectrasound" feel to some of the electric passages here. The music on Known Quantity is a buttery mix of electric and acoustic string aktion. Samara Lubelski plays bass on one track, but it's all solo apart from that. And it's a wonderland of textures and sound shapes. Some of the pieces are almost straight ahead (somewhat more in tunes with the work Willie does when he plays live), but others are as wobbly and jagged as a drunk peacock. It's an amazing record, and rewards multiple listens with constantly unfolding details. Max Milgram (from Watery Love) did the new cover art (based on the original LP's photographic frontispiece) and the mastering by Carl Saff is mighty nice. Enjoy..." --Byron Coley, 2018. Edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 414LP
|
"The second LP by Mark Cunningham's current Spanish outfit, Blood Quartet, marks a directional shift from their 2016 debut LP, Deep Red (FTR 283LP). On Until My Darkness Goes the quartet abandons pure instrumentalism, including a few vocal takes by drummer Cândid Coll strewn amidst the album's various tangles. There is also a much more aggressively rockist focus shown at times. Rumor has always been that this is a firm part of the band's live trip, but recorded evidence of it has thus far been scarce. Of course, most of Until My Darkness Goes is in the same great vein as Deep Red. Noirish trumpet drifts across a rotten cityscape, batting down noise guitar rats that pop up from open manhole covers like goddamn Whack-a-Moles. But there are other things going on as well. "Surfing Rueda" sounds like some sort of unholy collaboration between the Raybeats and Sonic Youth. "Stress of Her Regard" plays like Robert Wyatt doing his version of hard rock vocals in front of the Tony Williams Lifetime. "Velvet Love" curls through the air like a smoky reconsideration on Eric Burdon & the Animals' soft-psych phase. It's crazy how fast this record drifts from style to style, although Blood Quartet always touches back to their basic Chet Baker meets Pete Cosey conception. The whole album is a collection of wild moves, as you might guess from the fact they cop a Stones quote for its title, and even name a track after the Representative from Corwood. I can't wait to hear what these guys get up to next, but for now we've all got plenty to digest. So dig in." --Byron Coley, 2018. Edition of 250.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FTR 416LP
|
"Although I have lately taken to associating Louisville's Ryan Davis with the maniacal blurt of Tropical Trash, I am reminded by the release of the fourth State Champion LP, Send Flowers, that this is his original mothership. Send Flowers is State Champion's most fully realized Beard Rock expression to date. The surrealist underpinnings of Ryan's lyrics are heavier than ever, but that is balanced by the band's most epiphanically tasty licking. The pieces fit together with such easy organic grace, it's tempting to suspect they're simple. But the closer you listen to the parts the more complex they appear. This begins with Ryan's words, which are sung so gracefully you have to concentrate to pick up on the timeless phrases he invents here, but when you pay attention they jump up and just about bite you. The same thing goes for the instrumentation, which initially passes as a mere recreation of lost Topanga threads, but surpasses those bounds with the something approaching the same assurance as the David Lindley-led band on Terry Reid's River LP (the transcendent Beard Rock masterpiece). Send Flowers will almost surely be misapprehended by lazy farmers and the cows who follow them. It may also be anathema to folks who primarily head-link it to Tropical Trash, but for anyone who digs the new generation of singer/songwriters out there, from Wooden Wand to Ned Collette to the legacy of the Silver Jews. Peel slowly and see." --Byron Coley, 2018.
|
viewing 1 To 25 of 77 items
Next >>
|
|