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viewing 1 To 13 of 13 items
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LP
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AUK 032LP
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2020 repress; LP version. Pressed on 180-gram vinyl. Musique de film imaginé (music for film imagined) is a soundtrack that pays homage to the great European film directors of the late '50s and '60s, such as François Truffaut and Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of The Brian Jonestown Massacre for an imaginary French film. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of western rock and roll, The Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members and numerous ups and downs later (some of which have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective is frontman Mr. Anton Alfred Newcombe. The Brian Jonestown Massacre returned to wide acclaim in May of 2014 with their 14th full-length album, Revelation (AUK 030CD/LP), the first of the band's albums to be fully recorded and produced at Newcombe's recording studio in Berlin. Also recorded in Berlin, Musique de film imaginé features vocals from French chanteuse and multi-instrumentalist SoKo and Italian actress, singer, and director Asia Argento. SoKo is signed to Because Music and her track "We Might Be Dead by Tomorrow" was featured in the viral video "First Kiss," which has garnered over 63 million views; the track debuted at number 9 in the Billboard Hot 100 in 2014. Argento, who has starred in music videos for Marilyn Manson, Placebo, and Tim Burgess, wrote the storyline for A$AP Rocky's 2013 cinematic music video "Phoenix," which has had over 5.5 million hits. Both vocal performances are in French. Newcombe recorded this daring symphonic experience in August 2014 after a successful European tour with The Brian Jonestown Massacre. Newcombe describes the work as "a soundtrack, my own creation, a tribute to great directors and filmmakers [and] to an era that now seems to be behind us. Leaving the smart person to care to imagine that this art could now be in the shadow of its former glory. The interesting thing about this project is that the film does not exist either. Even so, I imagined and I realized its soundtrack... Now it's your turn, you are the listener to imagine the film."
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2LP+CD
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BEC 5156603
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2020 restock. This sequel to the acclaimed Cosmic Machine compilation released in 2013 is another fantastic journey through time and space. At the time musicians were trying to capture the sounds of meteorites entering the terrestrial atmosphere thanks to machines developed by NASA engineers, a new generation of analog synthesizers enabled electronic music composers to take over the charts. It seemed the machines were definitely made to serve a radical avant-garde, and many years later, we're glad to be able to listen with this perspective, and most of all -- to dance to it. While moving your feet to Cosmic Machine The Sequel, you might identify Francis Lay, recognized as one of the best music composers in France, as well as Rosebud, who had the audacity to remix the main theme from the movie More, created by Pink Floyd. You'll also find "Les Soucoupes Volantes Vertes" from Heldon, the band led by electronic music visionary Richard Pinhas. Pascal Comelade, a friend of his, and worthy heir of the American minimalism also appears on this record, with a cold electronic sound called "Mouvement Décomposé d'Un Coup de Marteau." Arpadys, for their part, make an appearance with a more tribal and spatial track that will make you turn the volume up. Christophe's "Harp Odyssey," a track influenced by his collaborations with electronic master Jean-Michel Jarre. The father of electroacoustic music, Pierre Schaeffer used to head the Group of Musical Researches, a real musical laboratory in which both artists have worked together, trying to experiment with new sounds. Finally, the legendary "Pop Corn" instrumental from Anarchic System will bring some nice memories to the surface. Each and every one of the artists present on this compilation has dreamt of getting his one-way ticket to the moon. Some of them have managed to tread upon the land of our satellite, but one thing is for sure: all have participated in the spatial conquest on board of the Cosmic Machine. You have the right to get on it. Also includes tracks by Stereo, Queen Samantha, Nicolas Peyrac, Roger Roger, Video Liszt, Pierre Porte, Grand Prix, The Peppers, Joel Fajerman & Jan Yrssen, Moon Birds, Araxis, Georges Rodi, and Michel Magne.
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2LP
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BEC 5161627
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2020 repress; Double LP version. Comes in a gatefold sleeve and includes download card. This 12-track album by Daniel Avery was written and produced since the turn of 2013 and mixed with Erol Alkan at The Phantasy Sound studio in London. Like Carl Craig's More Songs About Food and Revolutionary Art, Plastikman's Consumed or more recently, the work of Four Tet, this album works as a cohesive whole rather than a disparate collection of tracks. Innovative and forward-thinking, Drone Logic manages to draw influences from beyond the dancefloor via My Bloody Valentine, NEU!, and Chris Carter, while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery's music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden, and Factory Floor. Firmly established as one of the UK's most exciting new DJ/producers, having cut his teeth in Weatherall's Shoreditch studio bunker, Drone Logic follows up Avery's universally-acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors, and Django Django and 2012's Need Electric and Water Jump EPs on Alkan's Phantasy label.
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CD
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BB 345CD
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"Schlammpeitziger is the alias of musician, illustrator and performance artist Jo Zimmermann. He has been an integral figure in the evolving sound of Cologne since 1992, releasing his surrealist lo-fi krautronica on imprints such as A-Musik, Pingipung, and Sonig. Ein Weltleck in der Echokammer is the tenth Schlammpeitziger opus and his second album to appear on the Hamburg-based label Bureau B. The first notes of the opening title track Weltleck instantly confirm that this is no run-of-the-mill record. Jo Zimmermann confounds expectations as he wraps the art-electro sound of Schlammpeitziger in otherworldly dub echo loops -- a surprising, yet perfectly coherent development. Jo Zimmermann elaborates on the new Schlammpeitziger sound: 'Reggae expert Bettina Lattak is a good friend of mine and she has been telling me for years that there are dub and reggae influences in my music. I had never really given it much thought, but when I began to introduce these elements more consciously into my music, everything clicked into place quite naturally. I found it fascinating, completely free of any religious context, simply following the sound.' Not that these eight sun-drenched tracks are exclusively in the realm of dub rhythm; they are also sprinkled with disco beats, beguilingly low-flying bass and dreamy, sweeping melodic arcs -- everything for which we have come to love Schlammpeitziger. He launches us into outer space before bringing us back down to the prosaic dancefloors of Earth. Another new aspect is that Jo Zimmermann sings on three of the tracks, translating the whimsical, curious nature of the music into an equally unique vernacular. His verbal expansion of the enraptured cosmos illuminates the brightly lit world outside the echo chamber on 'Handicapfalter', referencing Kraftwerk's 'Spiegelsaal' like a steel drum Absurdistan. Elsewhere, 'Every Dayhey' floats like a weightless rainy Sunday dub, a dull sensation of gentle melancholy seeping into the morning after a long, long night. Stefan Mohr, the producer from Cologne, mixed the album as he did its predecessor. Zimmermann and his congenial colleague Ulrike Göken have once again crafted the cover art and created a video in visual interpretations woven from the same fabric as Schlammpeitziger's music. Ein Weltleck in der Echokammer is an album which offers answers to questions that nobody is able to ask. Dancing feet caught in a trap, lost in crowded emptiness or sucked into space through a leak in the world -- only Schlammpeitziger can do the lot." --Andreas Dorau
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LP
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BB 345LP
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LP version. "Schlammpeitziger is the alias of musician, illustrator and performance artist Jo Zimmermann. He has been an integral figure in the evolving sound of Cologne since 1992, releasing his surrealist lo-fi krautronica on imprints such as A-Musik, Pingipung, and Sonig. Ein Weltleck in der Echokammer is the tenth Schlammpeitziger opus and his second album to appear on the Hamburg-based label Bureau B. The first notes of the opening title track Weltleck instantly confirm that this is no run-of-the-mill record. Jo Zimmermann confounds expectations as he wraps the art-electro sound of Schlammpeitziger in otherworldly dub echo loops -- a surprising, yet perfectly coherent development. Jo Zimmermann elaborates on the new Schlammpeitziger sound: 'Reggae expert Bettina Lattak is a good friend of mine and she has been telling me for years that there are dub and reggae influences in my music. I had never really given it much thought, but when I began to introduce these elements more consciously into my music, everything clicked into place quite naturally. I found it fascinating, completely free of any religious context, simply following the sound.' Not that these eight sun-drenched tracks are exclusively in the realm of dub rhythm; they are also sprinkled with disco beats, beguilingly low-flying bass and dreamy, sweeping melodic arcs -- everything for which we have come to love Schlammpeitziger. He launches us into outer space before bringing us back down to the prosaic dancefloors of Earth. Another new aspect is that Jo Zimmermann sings on three of the tracks, translating the whimsical, curious nature of the music into an equally unique vernacular. His verbal expansion of the enraptured cosmos illuminates the brightly lit world outside the echo chamber on 'Handicapfalter', referencing Kraftwerk's 'Spiegelsaal' like a steel drum Absurdistan. Elsewhere, 'Every Dayhey' floats like a weightless rainy Sunday dub, a dull sensation of gentle melancholy seeping into the morning after a long, long night. Stefan Mohr, the producer from Cologne, mixed the album as he did its predecessor. Zimmermann and his congenial colleague Ulrike Göken have once again crafted the cover art and created a video in visual interpretations woven from the same fabric as Schlammpeitziger's music. Ein Weltleck in der Echokammer is an album which offers answers to questions that nobody is able to ask. Dancing feet caught in a trap, lost in crowded emptiness or sucked into space through a leak in the world -- only Schlammpeitziger can do the lot." --Andreas Dorau
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LP
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KEYSYS 001LP
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Restocked, last copies! Key System Recordings present a reissue of Yusef Lateef's Hikima: Creativity, originally released in 1983. In the early 1980s, famed jazz saxophonist and musical luminary Yusef Lateef traveled to Nigeria as a Senior Research Fellow to study, write, and teach at Ahmadu Bello University. He cut this record while there; pressed locally in Nigeria, it remained virtually unknown by jazz fans and collectors for over 30 years. On Hikima, Lateef leads a nonet of African musicians in seven compositions that fuse his deep blues and jazz roots with native Nigerian instruments, drums and chants. The sounds stretch from meditative and melancholic to urgent and unrelenting. A singular recording impossible to classify or box in. Lovingly pressed to vinyl by Key System Recordings, a new imprint dedicated to progressive and underground music of all types helmed by Jonathan Sklute, founder of NYC vinyl boutique Good Records. Officially licensed through the Lateef estate. Restored and remastered by Jessica Thompson. Pressed at RTI; sleeve done at Dorado; initial edition of 800.
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LP
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MAIS 031LP
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2020 repress; LP version. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
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2x12"
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OMKMOS 001EP
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Limited restock. Nine tracks of deep and twisted techno.
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2LP/BOOK
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OP 055-2LP
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Limited "Sound Edition" double-LP, includes 92-page book and O card. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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CD/BOOK
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OP 055LTD-CD
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Limited edition CD, includes 92-page book. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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LP
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RM 4116LP
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From David Toop: "Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that's not it, or it could be if you want it for yourself but not for me, not now; for me it's about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it's about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognizable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the specter of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world. Don't ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box . . . Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: 'This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.'"
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CD
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RM 4127CD
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Over the past decade, Richard Chartier's Pinkcourtesyphone has charted a cruelly lush passage through the extravagant interiors of psyche. A master of the melancholic, Pinkcourtesyphone's Leave Everything To Be Desired carves an effortlessly gorgeous chasm of sound that is profusely abundant with swelling melody, luxuriant texture and a perfume as dampening as one could possibly imagine. The follow-up to Pinkcourtesyphone's previous collection of negative mood music Indelicate Slices (RM 490CD) has arrived and it is even more of a sonic banquet than its predecessor. Leaving Everything To Be Desired is a sumptuous serenade revealing with candor the essence of the many careful adjectives used for situational descriptions. Pinkcourtesyphone swerves range out of another interior from sparkling dream-soft shimmers of strings, creamy arrangements, drifting drones, to dissected cha-chas. Sometimes charmingly flamboyant, sometimes darkly wistful, sometimes deadeningly soothing, sometimes abrasively tender, but always engaging and ultimately engulfing of us. This recording of temporal extravagances is meant to enhance with all the pillow-y richness of high fidelity to bring you every fascinating hue and shade of sound. Its soft-focus aesthetics lull the mind's ear into a state of woozy intoxication, comfortably unsteady underfoot. This could be the album you felt you have been entitled to, designed to be kept nearby. And so... recline... its night, late late night... without sleep the dreamtime has come and gone leaving us with perhaps an uncomfortable predictability suddenly we can no longer deny the shock of each moment.
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LP + 7"
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WRWTFWW 007LP
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2020 restock. An underground classic! The original motion picture soundtrack for John Carpenter's Dark Star (1974), with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and beyond). This limited-edition release includes an LP and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter's synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll. The 7" is red with a yellow label circled in black (in pure beach ball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York (1981), Christine (1983), Big Trouble in Little China (1986), They Live (1988)...), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo and the Scintilla Strings (in the real world, James Clarke's "Spring Bossa" (1968)), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Plus a very secret hidden bonus track! It all comes in slick Thermostellar Triggering packaging with brand-new artwork and invisible hyperdrive electronics -- the best way to relive the Dark Star adventure and celebrate John Carpenter's first directorial feature film, co-written by (and starring!) all-around legend Dan O'Bannon (Alien (1979), Lifeforce (1985), The Return of the Living Dead (1985)). Let there be light!
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