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2LP
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WHYT 107LP
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Somewhere between revelation and delusion, Euphoria Bound maps a familiar trajectory: the irresistible pull towards dissolution, the gradual erasure of memory, the self-rendered irretrievable. It moves between states of consciousness where such distinctions of enlightenment or self-deception are erased. Across ten tracks, the album constructs a spectrum of sound that is both ambitious and uncompromising. The approach here is more direct than recent releases, with textures that accumulate and disintegrate with renewed urgency.
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AKU 1036LP
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2026 restock. Akuphone present Fuji-Yuki's latest masterpiece, One Butoh. A musical immersion into the most exciting avant-garde dance style of the past century. Created in Japan in the 1960s by Tatsumi Hijikata, butō is the "dance of the obscure body". It broke with the traditions of classical Noh and Kabuki Theater, which, at the time, seemed outdated in the national context. Nourished by a European artistic avant-garde, butō stands out as a mirror of the socio-political turmoil of a post-World War II Japan. One Butoh resonates as a perfect acoustic introduction to this subversive art and propels the listener deep into his own soul. Fuji-Yuki is a Japanese vocalist who uses her voice like an instrument. With special vocal techniques, glossolalia and electronic pedals, she creates a wide variety of sounds. Inspired by the spirits of Buddhism and Shintoism, she creatively transforms her vocals into an ambient drone or prayers resonating in a church-like space. Her live performances are always different, depending on the place and space they take place in. She is also known as the vocalist of the experimental band Sarry. Reverse cardboard sleeve; 28-page A5 portfolio; edition of 500.
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AKU 1047LP
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2026 restock. This music is the result of a friendship established in Mexico between Marius Houschyar, Fabio Levi, Mazatl Alvarez, and Mich Rubio who came together in the gardens of Central Mexico for spiritual and sonic exploration. All songs were recorded outside at the ranch of Mazatls father in Michoacán and the magical garden of the wise Abuelos in Mexico State between cactus plants and gigantic trees. The music contains mostly indigenous instruments such as flutes and ceremonial percussion instruments, as well as classical guitar, electric bass, a Persian Santoor and one small keyboard. The song texts are improvised prayers in English, Spanish and Nahuatl. Every recording session started with a guided meditation and ultimately turned into a spiritual journey. A psychedelic trip telling of holy lands, the great spirits that inhabit it and a newborn, yet ancient brotherhood.
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CD
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BEWITH 003CD
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2026 restock. Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music. CD version comes in triple-fold digipack with insert and original liner notes.
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BEWITH 091LP
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2026 restock. They say: "Exploring the wide range of moods and sounds produced by percussion." Be With Records say: "MPCs at the ready because this does exactly what it says on the tin, to devastating effect." Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. This library LP is a mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Of all the 34 tracks Be With's favorites include opener "Impulsion", a percussive masterclass with drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja's eternal The Now Generation LP. And the dramatic "Fast Action" is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. "The Chaser" is classic library cop-funk with dilapidated drum figures, and the outrageously funky "Heat On" is the perfect accompaniment to your wild action sequences. A real highlight is "Runaway", and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. "Percussion Power" is an extended, near three-minute suite of funky drum solo after funky drum solo that just aches to be looped. "Shivers" is a tense, apprehensive underscore with shock stabs that builds to a climax whilst "Drums On Parade" is a showcase of head-nod drums and cymbals in march time. "Samba Street" is riotous, authentically drawn samba that sounds like it's been beamed straight in from Rio in full flow. The simple, innocent "Child's Themes" (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of "Tropical Peace" only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells. Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. Original analog tapes remastered for vinyl by Simon Francis. 180 gram vinyl.
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BELA 003-002LP
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Anonymous transmissions from a spectral, dead-of-night mystery zone. Recorded in 1996 and originally release by Japan's enigmatic La Musica Records label on limited cassette. A group that deconstructs and liberates the chance nature of contemporary classical and noise music enough so that their boundaries blur. Available for the first time on vinyl and digital. Recorded in 1996 and released without any identifying credits in an essentially private cassette edition, Bibiotheca Hermetica's sole release, One, was only the second by the Japanese La Musica label and remains one of its more obscure and enigmatic entries. The group works in spaces adjacent to contemporaneous outfits like Nijiumu and Toho Sara though its non-idiomatic improvisations and decentered, free sound explorations call back to seminal collectives such as the Taj Mahal Travellers and the East Bionic Symphonia. The music constantly shuffles and sifts filled with hypnotic clatter and clamor, rattling percussion, toughly scraped strings, gurgling bass tonalities and pirouetting winds. An anonymous transmission from a spectral, dead-of-night mystery zone. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990's. It released nearly 200 cassettes and CD-Rs, all handmade in micro-editions sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground.
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CSR 358LP
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Written in 1971 and read here by the author himself, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film Blue, it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalizing autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press/Prototype Publishing, and The Estate of Derek Jarman. Limited 500 copies on heavyweight 180gm black vinyl in gloss sleeve.
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CSR 362CD
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The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. CD comes in matt-laminate gatefold ecopak. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve (CSR 362LP).
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DM 004LP
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"Originally released in 2001, Up The Country is the debut album by The Sixth Great Lake and a quietly revered title within the late-'90s/early-2000s indie scene. Rooted in jangly guitars, melodic songwriting, and a distinctly pastoral sensibility, the album sits at the intersection of indie pop, folk-rock, and classic guitar-driven pop. Although initially released with modest exposure, Up The Country steadily developed a loyal following, earning cult status among fans of understated, melody-focused indie. Its charm lies in its simplicity: clean arrangements, memorable hooks, and an unforced warmth that has allowed the record to age exceptionally well over the past 25 years. This 25th anniversary reissue presents an opportunity to reintroduce an overlooked catalogue gem to today's market, appealing both to original fans and to a new audience drawn to timeless, guitar-led indie records. With renewed interest in archival and heritage releases, Up The Country offers strong long-term catalogue potential beyond initial anniversary demand."
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EMK 010LP
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Brand new Emika LP Fountain, part of the artist's Kickstarter campaign "How To Make Music Immersive." Intimate lyrical songs with piano and synths. Moody Electronic heavier songs in between the piano. For listeners who are tired of presets. Handmade, hand-played, honest-craft, 40 year old grown-up Emika. A mother of two, who lost her mother in 2025. Grief as a train on the way to the station of understanding love. A record written about the artist's personal life. If you like number drawings, you can draw on the artwork.
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FAKE 015LP
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2025 repress. "Bill Orcutt is of course famous for his bluesy free improv acoustic guitar playing, which he has been performing since he re-emerged with the 2009 solo album A New Way To Pay Old Debts, 12 years after the dissolution of his seminal noise rock band Harry Pussy. He has also held down day jobs as a software engineer at various Silicon Valley companies for the last two decades. Apart from certain errant excursions such as Harry Pussy's final album Let's Build A Pussy, which consists of Orcutt time-stretching a second of the voice of Harry Pussy drummer Adris Hoyos into an hour, and notwithstanding the fact that since 2011 his albums have been released by electronic music label Editions Mego, there was previously a marked divergence between the computers of Orcutt's career and the eschewal of digital manipulation in the uncompromisingly visceral playing of his vocation, in which the pluck of every string is palpable. This changed in 2016, when he released the avowedly primitive open-source live coding audio program Cracked, which consists only of a window in which commands are typed. Since then, Orcutt has been intermittently releasing music made with the app on his DIY label Fake Estates, A Mechanical Joey being the latest. Its two sides comprise one continuous track, lasting 35 minutes in total, during which Orcutt creates the illusion that a sample of Joey Ramone counting in a song accompanied by drumbeats is moving forwards and backwards in space. It is a sequel of sorts to Pure Genius, another release by Orcutt made on Cracked, which consists of various computer-generated voices counting, accompanied by bleeps ascending the chromatic scale. The blurb for that record claims that it was borne of the fact that 'while stuck out on the left coast surrounded by braying tech bros,' Orcutt 'realized that we, the plebs, will eventually be here only to serve the machines'. But perhaps the return of the human voice on A Mechanical Joey is his indication that we might be able to resist after all." --Daniel Neofetou
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LP
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FAKE 018LP
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2025 repress. "In 1957, R&B singer Richard Berry scrawled a few crude stanzas on a strip of toilet paper, and chant-sung them in fake patois over a shuffling rhythm to capitalize on the Latin craze tearing up the charts. 'Louie Louie' didn't make much of a dent in the national consciousness in its first iteration, but when Berry and the Pharaohs took the song on the road up and down the West Coast, it became something of a regional sensation. In 1962, the Kingsmen carved their mush-mouthed, barely-pubescent first take of the nascent standard into acetate. The resulting 45 was a mega-hit (although Berry remained a pauper until legal wrangling finally made him rich shortly before his death in 1997). No one could quite decipher the words, so grown-ups assumed the worst, and the resulting hysteria culminated in an FBI obscenity investigation and trial. The countless cover versions that followed the original hit mangled the song's blurry text into guesstimated verse with varying shades of angst and filthiness. Less than a decade later, Steve Reich's Four Organs made its concert debut. Its introductory staccato fanfare poleaxed unsuspecting uptown highbrows in an almost rockist fashion, and while the piece was tolerated by the art mob, Reich's work didn't fare so well in uptown concert halls. At a Carnegie Hall performance in 1971, one listener repeatedly slammed her head into the stage, shouting 'Stop, stop, I confess!' Nonetheless, the work's relentless progression, melting into Farfisa dreamscapes, would eventually inspire some of the most palatable manifestations of American minimalism. Bill Orcutt's latest release for Fake Estates, his ongoing opus of obsessive rearrangement, seamlessly melds these audio landmarks. Fittingly, Reich described Four Organs as 'the longest V-I cadence in the history of Western Music,' and as such, it neatly envelops all of Louie Louie within its single chord. Intuiting this, Orcutt deftly overlays the opening salvos of these sonic cognates into a zig-zagging 4/4 cadence, which unfolds over side one with an incongruously conventional rock dynamic structure. The Four Organs' sustained organ threads suggest Louie Louie's vocal line, whether by accident or Orcutt's design. Taken together, Louie Louie and The Four Organs represent key signposts in musical evolution: proto-punk, proto new age; reviled by the squares, yet efficacious in blowing forward-looking minds."
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CD
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IMPREC 518CD
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Triple Point, featuring Pauline Oliveros, Doug Van Nort, and Jonas Braasch, was an improvising trio with a core instrumentation of soprano saxophone, greis/electronics, and V-accordion. The name refers to the point of equilibrium on a phase plot, which acts as a metaphor for the group's improvisational dialogue. Triple Point's musical interaction was centered around an interplay between acoustics, physically-modeled acoustics (v-accordion), and electronics. Van Nort captured the sound of the other players on-the-fly, either transforming them in the moment to create blended textures or new sonic gestures or holding them for return in the near future. Oliveros changes between timbres and "bends" the intended factory sound models through her idiosyncratic use of the virtual instrument, while Braasch explores extended techniques, including long circular-breathing tones and multiphonics. This mode of interaction has resulted in situations where acoustic/electronic sources are indistinguishable without very careful listening, while other times, this becomes wildly apparent. This continual, fluid morphing is a product of Deep Listening and listening in the moment. The tracks were recorded by Jonas Braasch during a week-long residency at the Experimental Media and Performing Arts Center (EMPAC), Troy, NY, August 2012. Mastered by Tom Eaton at Sounds & Substance.
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2CD
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IMPREC 519CD
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These stunning recordings combine the great strengths of Pauline Oliveros on her Roland V-Accordion, Issui Minegishi, Ichigenkin master and great-great granddaughter of the founder of the Seikyodo Ichigenkin tradition and Miya Masaoka on her 21 string Japanese Koto. Together, these masterful improvisors create a beautiful and fascinating world of instrumental communication. This trio of legendary artists establish a sonic zone so compelling that you'll never want to leave. This double CD preserves the original session edits chronologically in order to preserve the emotional flow of the recordings. Disc one presents the first day of sessions and disc two presents the second day. Hence the title, Two Days In Dreamland. Recorded at Dreamland Studios in Hurley, New York. Mastered by Tom Eaton at Sounds & Substance. Pauline Oliveros, composer and accordionist, was a central figure in the development of post-war experimental and electronic music. She was a founder of the San Francisco Tape Music Center along with Ramon Sender and Morton Subotnick and she also served as its director. Minegishi Issui is the great-great-granddaughter of Tokuhiro Taimu, founder of the Seikyodo Ichigenkin tradition. She received her earliest training from her great-grandmother, Matsuzaki Issui, who was the third hereditary head of Seikyodo and who was also designated by the Japanese government as official guardian of the Ichigenkin tradition, as one of the country's Intangible Cultural Treasures. Miya Masaoka is an American sonic artist, composer and performer. Her work explores bodily perception of vibration, movement and time, while foregrounding complex timbre relationships. She has created a body of work that encompasses scores for orchestras and ensembles, sculpture works instigating new modes of listening, interactive media. Among her awards are the John Simon Guggenheim Fellowship, a Fulbright, the American Academy Rome Prize, the Doris Duke Artist Award and the United States Artist Award.
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Cassette
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IMPREC 539CS
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Analog Tara's Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.
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ITR 414CD
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"Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.'s new unit Poison Fang Society, succeeds In the Red Records' release of two expansive albums by the bandleader's Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022). The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band's co-lead singer Julie Christensen's ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past. Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters' 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D. The songs Chris brought to the studio reflect a shift in style: 'I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to 'Cellars to Weep' were very influenced by songs like Bob Dylan's 'Subterranean Homesick Blues' or 'Highway 61 Revisited,' even though song doesn't sound like that. I wanted to keep that kind of surrealist humor that Bob Dylan has -- those nonsense phrases that add meaning when they're all put together.' With tracks inspired by subjects as diverse at the gun-toting MAGA couple who pointed their weapons at Black Lives Matter protesters ('Goddamn Thieving Shame') to the sleazy come-on cover lines of '50s pulp paperbacks ('Sex Kitten'), Courtroom Wedding flexes a lean, potent sound that recalls the knife-edge attack of the Don Kirk-era Flesh Eaters and the heavyweight vibe of Chris' second solo album (as Stone by Stone), 1989's I Pass for Human. Like this punk grand master's finest work, it displays an electric, tormented immediacy."
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ITR 414LP
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LP version. "Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.'s new unit Poison Fang Society, succeeds In the Red Records' release of two expansive albums by the bandleader's Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022). The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band's co-lead singer Julie Christensen's ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past. Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters' 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D. The songs Chris brought to the studio reflect a shift in style: 'I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to 'Cellars to Weep' were very influenced by songs like Bob Dylan's 'Subterranean Homesick Blues' or 'Highway 61 Revisited,' even though song doesn't sound like that. I wanted to keep that kind of surrealist humor that Bob Dylan has -- those nonsense phrases that add meaning when they're all put together.' With tracks inspired by subjects as diverse at the gun-toting MAGA couple who pointed their weapons at Black Lives Matter protesters ('Goddamn Thieving Shame') to the sleazy come-on cover lines of '50s pulp paperbacks ('Sex Kitten'), Courtroom Wedding flexes a lean, potent sound that recalls the knife-edge attack of the Don Kirk-era Flesh Eaters and the heavyweight vibe of Chris' second solo album (as Stone by Stone), 1989's I Pass for Human. Like this punk grand master's finest work, it displays an electric, tormented immediacy."
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CD
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ITR 417CD
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"The unholy triumvirate of Big Sexy Noise featuring Lydia Lunch, James Johnston (Nick Cave, PJ Harvey, Faust), and Ian White (Barry Adamson) of the notorious Gallon Drunk are dead set on proving once more that rock is alive and kicking, down and dirty and raunchier than ever! Lunch helped pioneer no wave in 1977 with the slashing din of Teenage Jesus and the Jerks and has remained a caustic presence in the alt-rock firmament ever since. Big Sexy Noise unites her with guitarist James Johnston and drummer Ian White of guttural London greasers Gallon Drunk for the most joyfully bawdy music of her career, stripping bare the bluesy brawn of '70s heavy-rock and inverting its every cock-rock cliche to Lunch's delight. White's limber shuffle injects sinful grace into what could have been Neanderthal sludge, while Johnston stirs up the din of an entire band with his single guitar, hurtling between bone-simple, steamy riffs and blasts of near psychedelic noise. Big Sexy Noise Live in Italy, a fierce, fearless, tub thumbing, balls to the wall rock monsterpiece."
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ITR 417LP
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LP version. "The unholy triumvirate of Big Sexy Noise featuring Lydia Lunch, James Johnston (Nick Cave, PJ Harvey, Faust), and Ian White (Barry Adamson) of the notorious Gallon Drunk are dead set on proving once more that rock is alive and kicking, down and dirty and raunchier than ever! Lunch helped pioneer no wave in 1977 with the slashing din of Teenage Jesus and the Jerks and has remained a caustic presence in the alt-rock firmament ever since. Big Sexy Noise unites her with guitarist James Johnston and drummer Ian White of guttural London greasers Gallon Drunk for the most joyfully bawdy music of her career, stripping bare the bluesy brawn of '70s heavy-rock and inverting its every cock-rock cliche to Lunch's delight. White's limber shuffle injects sinful grace into what could have been Neanderthal sludge, while Johnston stirs up the din of an entire band with his single guitar, hurtling between bone-simple, steamy riffs and blasts of near psychedelic noise. Big Sexy Noise Live in Italy, a fierce, fearless, tub thumbing, balls to the wall rock monsterpiece."
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IRON 043CD
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Dreadland is an instrumental roots reggae album and represents work of over several years where the tracks have evolved and have now been recently updated by Alien Dread. The album has been updated and now includes (the in demand) tracks "My Homeland" and "My Homeland Dub Vs.1." Alvin Davis is a talented Jamaican multi-instrumentalist; specializing in saxophone, trumpet, trombone, flute, and more. Alvin has worked with Alien Dread for many years and has contributed to virtually all Alien Dread projects and releases. The album tracks were inspired by traditional Jamaican roots reggae and skillfully produced by Alien Dread with assistance from ISR (long time co-producer). The other players involved are Asha B, who has worked with AD for several years on Congos, percussion etc, and Steven "Marley" Wright, rhythm and lead guitar.
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JPR 128LP
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"Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood -- where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of 'Journey To The East' to Bill Plummer's swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any '60s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew); Maurice Miller (drummer in The Jazz Corps); Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar, and Frank Zappa); Mike Lang (piano with Flamin' Groovies & Hal Blaine); Tom Scott (saxophone with Gabor Szabo & Thelonious Monk); Ray Neopolitan (Bass for The Doors & Leonard Cohen); Milt Holland (percussionist with The Wrecking Crew and Captain Beefheart); Bill Goodwin (drums for Mose Allison and Tom Waits). Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John Coltrane, Art Blakey, to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records."
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KRANK 251CD
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"'The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions -- the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder. Two songs established the spine of this music. Songs I've always loved, it seems even before I'd heard them. The first one, and the source of the title is 'You Belong to Me' by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it's also a beautiful mid-century romance -- and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth. The second song is 'Promised Land' by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he's safely arrived in the new one. The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open." --Mark N/Pan?American
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KRANK 251LP
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LP version. "'The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions -- the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder. Two songs established the spine of this music. Songs I've always loved, it seems even before I'd heard them. The first one, and the source of the title is 'You Belong to Me' by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it's also a beautiful mid-century romance -- and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth. The second song is 'Promised Land' by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he's safely arrived in the new one. The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open." --Mark N/Pan?American
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LAPSUS 043LP
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APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms. With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she's been incorporating into the sonic world of this new album, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist. With APORIAMOR elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language -- a coping mechanism attached to its subsequent artistic expression -- that isn't founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth. APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music -- intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world. The experience of working hand-in-hand with Sampha has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth. Experimentation and modulation are an intrinsic part of elsas' method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench and Nathan Boddy, and mastered by Matt Colton.
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2LP
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MOV 4030COL-LP
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"Music On Vinyl's well-received series of Golden Earring remastered and expanded editions continue with On The Double. The Red Bullet archive was turned inside out again by Wouter Bessels and he found the original first-generation quarter inch master tapes of this classic 1969 album. These particular tapes have never been used for any release before, as in the analogue days of mixing and mastering it was customary to run off a set of equalized tape copies -- with compression and sometimes reverb added -- for release on vinyl and cassette. The first-generation tapes sound dynamic and have a wonderful late ;60s brilliance. You'll probably have never heard the lush orchestral arrangement of 'Just A Little Bit Of Peace In My Heart' so dynamic and fresh before. These tapes were hi-res digitally transferred and carefully remastered by Wouter Bessels. Also, genuine stereo mixes of both 'Dong-Dong-Di-Ki-Di-Gi-Dong' and its B-side 'Wake Up-Breakfast!' were found. As the On The Double album was mixed in glorious stereo, MOV has included these never-before released stereo mixes (instead of the original 1968 mono mixes), alongside the original stereo mixes of 'Where Would I Be'/'It's Alright, But I Admit It Could Be Better', the single that came out after On The Double. All in all, this expanded release of On The Double contains everything released by Golden Earrings between the albums Miracle Mirror and Eight Miles High and, as it features all original stereo mixes, fills another important hole in the reissue program of the band. On The Double (remastered and expanded) is now available as an individually numbered edition of 1000 copies on crystal clear vinyl. It contains an insert, printed inner sleeves with liner notes by acclaimed Golden Earring biographer and archivist Jeroen Ras and additional remastering notes and comes in a gatefold sleeve."
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