"The first vinyl release of Charlemagne Palestine's Godbear, a 1987 solo piano recording originally scheduled to sit alongside Sonic Youth and Swans in the catalogue of Glenn Branca's Neutral Records but eventually released on CD by the Dutch Barooni label in 1998. Although Palestine has worked in an enormous variety of media, his long form performances for solo piano are perhaps his most acclaimed works. Palestine immersed himself in the study of overtones throughout the 1960s, working first with carillons and then with electronic synthesis, searching for the 'golden sound'. Beginning in the early 1970s he continued his exploration of the complexities hidden within seemingly simple tones and intervals on the Bösendorfer Imperial Grand Piano, the 'Rolls Royce' of pianos. With the piano's sustain pedal constantly depressed, Palestine hammers out rapidly repeated notes, allowing a complex cloud of overtones to rise above the percussive texture of the struck keys. Initially working with simple intervals such as octaves and fifths, Palestine gradually expanded the harmonic range of his piano performances over the years, while still retaining their ecstatically single-minded nature. Revisiting his signature piano style in 1987 after several years focusing on visual art, Godbear presents three distinct variations that demonstrate the development of his piano music after the classic recordings of the early 1970s. Occupying the entire first side, 'The Lower Depths' stages a slow descent from the piano's mid-range to the Bösendorfer's cavernous additional low octave, building into a thundering swarm of booming overtones. Breaking entirely with the stereotype of clinical minimalism, Palestine's journey to the depths embraces passages of darkly romantic melody before slowly ascending to its starting point. The version of 'Strumming Music' performed here condenses the developmental arc of the piece into eleven minutes, fanning out from a single octave to a complex harmonic wash that calls to mind Palestine's enthusiasm for Debussy and Ravel. 'Timbral Assault' is like an evil twin of 'Strumming Music,' transforming its insistency and harmonic complexity into aggressive intensity and creeping dissonance, foreshadowing Palestine's later collaborations with Christoph Heemann. A classic release, and one that, because of the variety of approaches surveyed within, serves as an ideal introduction to Palestine's ecstatic and mysterious sound world" --Francis Plagne. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Presented in a deluxe gatefold sleeve designed by Stephen O'Malley.
Following his trilogy of The Great Depression (2012), We Got Lost (2012), and Wisdom of Life (2014), Doctor L (aka Liam Farrell) presents a limited vinyl edition of the best tracks from the trilogy. Sound-activist since 1990, Doctor L moves through musical galaxies like an incandescent comet, fusing '80s punk rock with hip hop, electronica, and Afrobeat. Farrell is one the most innovative producers of music from Africa. In 1999, he brought the Afrobeat of Lagos, Nigeria into the third millennium as a producer of Tony Allen's album Black Voices (KSTA 006LP); he also produced the successful 2015 debut album of Congolese band Mbongwana Star, which Rolling Stone called a "heady and high-energy Afrofuturist collaboration."
Kerridge returns to Downwards in 2016 with the custom-built electronics of Fatal Light Attraction following 2015's incursions on his own Contort label. The project premiered at Berlin Atonal 2015 with Kerridge working alongside Andrej Boleslavský and Maria Júdová to create an intense, kinetic shadowplay synched as a counterpart to the music and performance. As Kerridge's third long-player, Fatal Light Attraction marks a more fluid -- or effluent -- refinement of his sound, blurring the boundaries between organic audio sources and custom-constructed synths to flood the senses with waves of bristling, oxidizing industrial tones and coruscating texturhythm seemingly intent on separating flesh from bone. It's evil stuff, all seven tracks of it, forming a closed feedback system of guttural, choking frequencies and arrhythmatics. Mastered and cut by Matt Colton at Alchemy. Edition of 500.
Two LPs (disc one is translucent red; disc two is translucent blue) in gatefold sleeve with printed inner sleeves. Thibaut Berland aka Breakbot presents his second album, Still Waters, the full-length inauguration of the project's duo configuration with collaborator Irfane. Still Waters is an assortment of southern sunrays created according to the duo's well-oiled formula. They each cook up outlines of rhythms and melodies, then modify, complete, and extend them to reach a final draft. Still, Still Waters sees Breakbot trying out a few new moves; unlike Berland's 2012 debut, By Your Side, Still Waters is more the work of intricate workmanship carved out with the help of old analog machines rather than digital software. Some of these tracks were also happy accidents from improvisational sessions; ricochets of voices and chords born of old-school jam sessions. Thirteen bouncy acts with Stevie Wonder and the Motown crowd in the background; spouts of funk and disco on a well-trodden dancefloor. Crafty ideas whipped up in a vintage outfit with techno vibes and futuristic accelerations creating a perfectly current soundtrack. Tomorrow's retro.
Bristol, England-based sound artist and producer Sophia Loizou presents Singulacra, the follow-up to her 2014 debut, Chrysalis, which is itself a staggering exploration of the conflict between nature and technology and the space between natural and synthetic sounds. With Singulacra, Loizou builds on the framework of Chrysalis for her most ambitious offering to date. Ghostly remnants of hardcore and early jungle percolate throughout while fragments of radio transmissions seep in and out through tape-based processes and spectral processing, leaving the listener in a hauntingly beautiful landscape filled with both solidity and disintegration. Bringing back the times of pirate radio, almost like lost transmissions from beyond the grave, this work provides a sense of intimacy and familiarity during the contemporary full-speed acceleration toward unknown futures. Exploring its audiences' anxieties surrounding technological utopias while retaining an emphasis on nurturing human value when facing inhuman forces, Singulacra engages with the potential loss of human essence amid technological progress toward artificial intelligence. Limited edition of 300. Initial copies on transparent vinyl. Includes download code.
[Cease & Desist] DIY! Cult Classics from the Post-Punk Era (1978-1982)
Limited 2016 repress. [Cease & Desist] DIY! Cult Classics from the Post-Punk Era (1978-1982) collects 15 UK 7" singles recorded between 1978 and 1982, compiled by JD Twitch to showcase the DIY spirit of those times. "If Punk was the nuclear detonation, the fallout that came after was where a lot of the most interesting music of that era was made. People who would never have thought to release a record before realised it was something they could do, and the end result was a DIY explosion. I've always loved music that doesn't try to fit in a particular genre, that is anti-canonical and doesn't care what else is going on in music at that time, that takes risks and is full of imagination and ideas that may or may not make any logical sense but that resulted in something unique, that ignores conventions about how a record SHOULD be produced and that was created simply because its creators felt the urge to express themselves and share the results with some other people. This compilation compiles 15 tracks that fulfil all those criteria. None of them had any success, most are (unjustly) obscure but every one of them has inspired me and would be in my ultimate 7" singles box" --JD Twitch. This release has been a real labor of love, involving tracing long-lost artists to far-flung corners of the globe, persuading them that the modern world needs to hear the music they made several decades ago, tracking down masters -- lovingly restoring 7"s in place of lost masters in some cases -- and conceiving an elaborate package with detailed sleeve notes to house the double album. Unfortunately, the original choice of title for this release infringed on the copyright of a series of well-known pop compilations released by a certain major label. They sent a cease and desist letter (hence the title of this edition), and did not accept proposed modifications to the original sleeves, so this edition is released in a more conventional package than was intended. Gatefold sleeve with printed inner sleeves containing sleeve notes and detailed overviews of each individual track by JD Twitch and an introduction by New York's DIY expert Dan Selzer. Includes tracks by Tesco Bombers, Sara Goes Pop, People in Motion, Nancy Sesay & the Melodaires, The Distributors, Dorothy, Thomas Leer, Visitors, The Murphy Federation, The Cro-Tones, Fatal Microbes, Spunky Onions, The Fakes, and The Prats.
"For our 50th label release, Permanent Records could not be MORE EXCITED to announce the 40th Anniversary reissue of Zipper's self-titled LP from 1975!!!! You all know Fred Cole from Dead Moon. And yes, Pierced Arrows too! But preceding both of his more 'famous' bands (and others like The Rats, etc, etc) was Zipper! Formed when Fred and Toody Cole returned to Portland, Oregon after homesteading in Alaska, Zipper was the beginning of both Whizeagle Records, their in-house label, and Fred's long illustrious DIY RnR career. Equal parts acid fried psych, raw blistering guitar fireworks, proto-punk pummel and bone crunchin' heavy rock machismo, Zipper was Fred's headfirst dive back into the rock world after his disillusionment with the 'garage scene' post Weeds / Lollipop Shoppe. No managers to tell him what songs to play or what 'sound' was in. No label to fight with. Just Fred Cole and a close knit group of fellow disenchanted rock n rollers (Lorry Erk, Jim Roos and Greg Shadoan), playing their in-the-red whiskey and cigarette fueled music as loud and furious as can be!!! So for those into scorching Acid Archives psych rock, Zipper is yer next fix! And for those those Fred and Toody Cole completists, this reissue is ESSENTIAL, as originals go for as much as $250!!!! For everyone else, if you like yer rock n roll, RAW, MEAN AND UNHINGED, just like it should be."
Cory Arcane found her comfort zone in a constant state of crisis, and her liberation through love, sensuality, and high-speed internet access. As some might recall, she used to struggle with her own decay, navigating an intricate web of bureaucracy, endless social-media scrolling, 24-hour news channel feeds, and marketed strategies of seduction. Her intense and continuous obsession for surf, breakdancing, and cat videos might have saved her from a silent decline, but it would be her first attempts at integrating a professional ballet company that provided the initial spark. Her unorthodox dance movements were often considered shocking, transgressive, and barely legal; and even though some recognized her genuine talent, it was clear she would never make it into this structure. This is when she started her slow drift toward the outer limits of society, in search of the way to achieve the conditions for absolute freedom. Her emancipation was surely marked by different forms of excess: the inappropriate use of fireworks, the consumption of large quantities of alcohol and controlled substances, as well as the occasional blasts of kitchen appliances. She bypassed the gender war and became an expert in advertising sabotage. Soon Cory would give academic courses on the true liberation of the mind, or, in her own words, the apotheosis of senses. Lately, she could be seen squatting in the outskirts of different giant metropolises, embracing the mayhem, contemplating the crumbling of a system. The sound of the city, mixed with the music on her headphones, would weave complex rhythms and futuristic textures into a beautifully colored, pixelated surface. Looking out onto this fabulous chaos, she smiled. Cory Arcane is Kangding Ray's fifth album, following four previous full-lengths on Raster-Noton.
Lago is an LP recording created in dialogue with the photobook of the same title by American photographer Ron Jude, published by MACK (UK) in September 2015. The two compositions revisit the sites of Jude's initial photographs in and around the Salton Sea in the Southern California desert, and use site-specific field recordings and analog processing to craft an aural counterpoint to the photographs themselves and the photographic process. Contact microphones and hydrophones were used to gather sounds from flora, desert refuse, architectural ruins, and the Salton Sea itself to create an expanded study of the acoustic ecology of the area. The work weaves together location recordings and interviews to construct an acoustic portrait of the desert that is steeped in intimations of narrative dealing with loss, history, and a landscape haunted by a specter in darkness. Lago is an attempt to enter into the perceptual horizons of the desert while also engaging a past that shapes the encounter.
End of Summer captures Jóhann Jóhannsson's journey to the Antarctic Peninsula to discover the calm scenery of a landscape changing seasons, barely influenced or even noticed by humanity. The Super 8 film is a comforting study of a peaceful setting in one of the most crucial and endangered areas of our planet. Accompanied by rich and detailed field recordings of the surroundings, this footage forms a perfect foundation for Jóhannsson's musical compositions, performed together with fellow musicians and friends Hildur Guðnadóttir and Robert A. A. Lowe. The varying use of cello, voice, synthesizer, and electronics creates a listening experience that reflects both the vast beauty of the quiet scenery and the necessary caution of its inhabitants. As if gliding through the steep ice, its rough edges, and the harmonious water movements, organic arrangements patiently devolve into voice-and-electronics-based ambience that adds warmth to the icy environment. The soundtrack to End of Summer is an emotional, enduring listen and a compelling experience. Forming a soundscape as broad as the view that inspired it yet equally heartwarming, the music will slow down time and provide a moment of harmony within times of change. CD contains the soundtrack, and includes a DVD of the film. Laser-cut mini-LP cover with two printed inner sleeves.
"On the cover: Boris (The Japanese trio have embraced rock, metal, noise, pop, drone and more in their 25 year career to date. They're now set to release a new collaboration with noise magus Merzbow). Inside this issue: Awful Records + Harsh Riddims (Atlanta, Georgia has been a hiphop heartland since the 1990s. Now a new breed of lo-fi outliers clustered around indie labels Awful and Harsh Riddims are edging the music into the twilight zone); Church organs (The organ may seem an unlikely avant garde instrument, but a handful of contemporary artists are finding new uses for its awe-inspiring sonic impact); Global Ear: Calais (Migrants in the French port city find a few moments of peace in folk songs and sound systems); Invisible Jukebox: Andrew Weatherall (The UK house and techno veteran rattles his sabre at The Wire's mystery record selection)."
Limited edition of 200. Standalone edition of Vinyl-on-Demand's expanded reissue of Blinded Horses by Muslimgauze, included in its 2014 Chasing the Shadow of Bryn Jones 1983-1988 box set and originally released as an LP on Limited Editions in 1985. The set focuses on the early output of the Manchester, England-based Bryn Jones, who produced nearly 200 albums between 1982 and 1998, before he passed away in 1999 at age 37. An anti-colonialist at heart, Jones dedicated most of his music to Muslim-world struggles during his lifetime, such as Soviet-occupied Afghanistan, the Iran/Iraq war, and the Lebanon civil war, to name a few, with an emphasis on the Israeli-Palestinian conflict. Jones was pro-Palestine, often evidenced on album and track titles as well as dedications. Muslimgauze music can be considered a sonic treatise on Muslim-world conflicts in the form of exotic soundscape narratives, driving musical protest and rhythmic assertion. As a side-effect of being prolific, Jones worked in a variety of styles and successfully melded traditional ethnic music of places he championed with Western urban stylings such as techno, breakbeat, and dub. Some credit him as being the "Godfather of Dubstep." Perhaps Jones's musical brilliance shone brightest as an audio editor who deftly juxtaposed unlikely sounds in ways that now cannot be envisioned otherwise. In 1992 Jones wrote a manifesto about his music and influence; decades later, his vision is more relevant than ever. "The Principle Influence behind Muslimgauze is the political facts of the middle-east, though support of the PLO is the main Backbone. There are no musical influences, only political facts and figureheads e.g. Arafat, Gaddafi, Bhutto, Khaled etc. Such things are the starting point from which Muslimgauze music is taken. We have just (Gulf War) had a small skirmish in the middle-east, this area of the world is the most important quiet soon. Every countries going to have to choose which side it is on, to help free the people of Palestine. . . . There is a lot more to Muslimgauze than just a few pieces of music on a record or CD. There are no Bands around who I go out of my way to hear/see, the main-music I listen to is authentic and unable to be pigeonholed, people seem to buy what there told to, also they hear what other people have decided is good. Go Out and Discover." --Bryn Jones, February 29, 1992, Manchester
Psych Funk Sa-Re-Ga!
2016 repress. Deluxe gatefold 2LP version with 20-page booklet. Subtitled: Seminar: Aesthetic Expressions of Psychedelic Funk Music In India 1970-1983. "Indian music has become a global musical language but its South Asian roots remain strong, diverse and local. As with our introductory anthology of this kind (Psych Funk 101 -- WPFC 101) this anthology covers the 'golden years' of the movement, from approximately 1970 until 1983. Much of the music on this compilation springs from the Bollywood film industry; composers such as R.D. Burman and the brothers known as Kalyanji Anandji, whose work makes up much of this anthology, recorded and released an inordinate amount of soundtracks. That experiments in the fusion of India's classical traditions of Hindustani and Carnatic music, folk music such as bhangra and dandiya and Western psychedelia and funk music would occur at some point is only natural. Also included are off the beaten path Indian experiments in psych funk -- for example, two songs from the Simla Beat garage-psych albums, and an oft-heard Deep Purple cover by the ground-breaking Atomic Forest -- and examples of the Indian psych funk influence on European 70s musicians. Throughout the extensive liner notes, WPFC attempts to broaden the definition of global psychedelia: the early researchers who first coarsely defined the genre - and limited its subgenres -- did so at the same time that these experiments were first issued. That they would obscure these contributions to the global psychedelic canon is understandable. But it is time to correct this oversight."
"Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid- 1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called 'Big Four' of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music. 'Four Organs' is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoicallysteady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound -- stretching the tones to create (in Reich's words) 'slow-motion music.' Inspired by Reich's early training on drums, 'Phase Patterns' treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs/Phase Patterns is one of most highly regarded avant-garde recordings in the past 45 years. This CD release features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker."
"A few years ago, an idea germinated while reading The Magic Mountain (Der Zauberberg) by Thomas Mann. An idea not driven by the narrativity of the book, but by the traces and the aura invoked in it. That was it: an audible aural journey through the memories of a place lost in the heights of the Swiss mountains. A century after the events depicted in the book, we went to where the story took place, trying to capture the remaining sounds that could have been heard at the time, and the ghosts who might have still wandered around. Zauberberg is based on these captures, on recordings of the music played by Hans Castorp (the novel's main character), on acoustic/electronic instrumentation and digital processing. The result is an evocation of time and duration, an exploration of what remains and what is lost, a meditation of the dissolution and persistence of the aura surrounding everything." --Kassel Jaeger, November 19, 2015
LA-born Vienna resident Tin Man (Johannes Auvinen) and Vienna-born Angeleno John Tejada present a four-track journey through the highways of Los Angeles. Opener "Swiftbox" is a perfect amalgam of Auvinen and Tejada's respective styles, with its tremulous 303, complex minor key melodicism, and deconstructed stabs. "Diamond Lanes" is another muscular acid cut with subtle, swinging percussion, layering widescreen pads and jacking snares, reimagined as a skeletal electro roller in Achterbahn D'Amour's remix. Closer "Deep Traffic" is a bugged-out acid cut that captures the feeling of sitting alone in a crowd of cars crawling toward eternal sunset.
Rare, previously unreleased outtakes from electroacoustic pioneer and Synclavier developer Jon Appleton and experimental jazz outrider Don Cherry's controversial electronic jazz experiments, recorded during the sessions for their 1970 Human Music LP at the Bregman Electronic Music Studio at Dartmouth College, New Hampshire. Released with the blessing and encouragement of Appleton himself, this absolutely essential record combines the creative technology that directly coincided with the dawn of Bob Moog and Don Buchla's synthesizer revolution with the homecoming of outernational free jazz -- two strains that, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond.
Cognition/Observation is the very necessary follow-up to Robert Aiki Aubrey Lowe's physically modelled modular trance impulses heard on Timon Irnok Manta, which was issued to critical acclaim by Type in 2012 (TYPE 111LP). Bypassing academic practice in pursuit of fluid, instinctive progression, "Cognition (Forbes)" and "Observation (Sophrons)" unfurl two long, knotted sequences entangling intricate West African drum patterns and visual motifs in a buoyant, propulsive abstraction of techno and earthed-yet-cosmic electronics. Bass is thick as treacle and buffered by a scratchy, semi-organic flux of dancing sparks and mbira-like metallic twang in "Cognition (Forbes)," before the same elements refract and tessellate in a more nuanced echo chamber sound, distinctly recalling the shape of Dynamo's 2002 classic Außen Vor (DIN CD01) as much as Hieroglyphic Being's hypnotic improvisations. Rarified, transcendent music of the strongest order. Mastered and cut by Matt Colton at Alchemy.
Double LP version. London-based Italian artist Alessio Natalizia aka Not Waving presents Animals, the project's most versatile album to date. It's an unruly yet emotive bender taking in dancefloor-mauling new beta and endearingly beery post-industrial synth music. Animals harnesses the wanderlust of Natalizia's spate of self-released albums and records for Ecstatic and Emotional Response but dials up the wildness, spitting out a careering sequence of tracks that feel as warped, deep-raved, and giddy as a night out in the city where they were forged. And make no mistake, although Animals occasionally bites hard at the business end of the dancefloor, this is Diagonal's most pop album yet, with Natalizia's songwriting sensibility conjuring moments of tenderness and beauty to offset the manic strobe lighting and dropping sweat. Opener "Believe" is one such moment, a twisting synth workout that bounces along over rock-ist live toms. The tie is loosened on "Head Body," as Not Waving unleashes a raging kosmic EBM showpiece that morphs across six sprawling minutes. Next up is "24," the album "hit" that delighted and destroyed dancefloors throughout 2015, with clear influences from Front 242 and Ancient Methods. The shunting "Gutsy" and whopping industrial stress-test "Work Talk" buckle down like mutant Powell cuts, whereas "I Know I Know I Know" and the thrashing EBM-pop of "Face Attack" run The Sound of Belgium (LMFLF 287CD/296LP, 2015) through a distinctly Diagonal filter, all smart edits and unruly arrangements. The great strength of Animals, though, lies in how Natalizia marries the clammy peaks of contemporary club music with oddly emotive runs into acidic Canterbury pop (as on "Tomorrow We Will Kill You") and cyborg despair (see "Punch") before the bittersweet "They Cannot Be Replaced." In short, this is Not Waving laying down some of his most sophisticated songwriting and finding an entirely appropriate home for his own distinctive sound. Animals is Diagonal's sixth artist album, following releases by Russell Haswell (including DIAG 024CD/LP, 2015), The Skull Defekts, Shit & Shine (DIAG 012CD, 2014), and Death Comet Crew (DIAG 006LP, 2013). Art by Diagonal whiz Guy Featherstone. Mastered and cut by Matt Colton.
After many years of putting out strictly vintage '60s/'70s/'80s reissues, Guerssen inaugurates its New Records imprint and (again) begins releasing albums from current bands that the label truly loves. New Records focuses on '90s-and-beyond psychedelia, hard rock, folk, progressive, etc. Listeners can expect Guerssen's usual attention to detail and nice artwork designs. The first release on New Records is the first vinyl edition, with new artwork, of Japanese band Khola Cosmica's overlooked 2011 self-titled CD. Hailing from Tokyo, Khola Cosmica are not your average "stoner rock" band. This brutal power trio plays some of the most extreme, psychedelic doom metal you can find. Long tracks featuring devastating, loud, in-your-face fuzz riffing, hypnotic drones, and dark atmospheres destined to destroy your mind. Remastered sound. Includes insert.
"Limited edition LP release (180g vinyl) + free download card. Selecting illustrative works from the lifetime of a creative person is a daunting task; doing so with a singularly individual artist like Harry Partch is all the more difficult. In the more than four decades since Partch's death, interest in his both his life and his compositional output has continued to grow, and there remains a place for documents that can offer insights, suggest paths, and give new life to that creator's endeavors. Even as duplicate instrumental ensembles are beginning to appear, and the original Partch instrumental resources have found a new home for performance and study, there is considerable value in returning to the many recordings he crafted over his lifetime of composition and performance. These are recordings that carry not only the stamp of the author, but his voice as well -- Partch himself appears in every single track of this record, either as singer, instrumentalist, or both. This remastered version of The Dreamer That Remains has never been available before and is making its first appearance in any format. The 12-page booklet includes an essay by the Harry Partch Foundation's Jon Szanto and numerous rare photographs provided by the foundation and other sources. An invaluable document for both Partch enthusiasts and neophytes! Limited to 700 copies."
Limited edition of 300. David Toop's environmental beauty Life on the Inside is the audio companion (created and recorded in 2015) to French sculptor Pierre Besson's 2014 exhibition D'objets noires et de Choses carrées (Black Objects and Square Things). This 34-minute ambient track was diffused inside of the sculpture and has never been published before. An excellent addition to the David Toop discography and a must for any wide-ranging ambient fan.
Outlier: Recordings from Madagascar
Limited-edition LP with full-size insert of text and photographs by compiler Charles Brooks. This collection is an impeccable and crystalline assortment of beautiful music from the deep southwestern provinces of Menabe and Tulear in Madagascar, recorded and assembled by Charles Brooks. Brooks has made many friends in these lesser-travelled regions since the 1990s. Outlier: Recordings from Madagascar represents a compilation of his encounters from 2011-2012. "Madagascar is an island that would bleed into obscurity if not for the rhythm of its name and the mysterious tailwind that follows it. Filled with natural wonder, it's a land where places, conversations, and names are spoken with a liquid tongue, where people and setting come together to create a unique array of music and culture. Sites can become extraordinarily charged with an unseen presence where heavy air, summoned spirits, and a transformative energy collapse natural constraints of place. The Malagasy call this mingling of forces 'maresaka' -- a permeating vibrational aura. Maresaka pulls you in and places you in the moment, to participate through a saturation of sounds, smells, and colors. When caught inside this kind of atmosphere, levity comes; you release your anchors of self-control. Beautiful unfettered music surfaces. Here, that is to say where I've been brought to listen, music lives and moves. The artists represented in this compilation play, and their music has many different roles -- both natural and supernatural. Music can be performed as much as it can be recorded, but here it's mostly played. These exceptional artists share within such practice" --Charles Brooks, 2015. Performers include Manatsoa, Tanka, Angeline, Tafara Justin, Justin Velonjoha, Masy Germaine, Mony, Mahavita, Leonel, Lisa, Jean-Francois, Marinette, Vincent, Alvine, Tsingezo, and Taomanana.
S.P.K. Dokument: Recordings 1979-1983
Limited edition of 400. SPK was an Australian industrial band formed in 1978 in Sydney by Graeme Revell and Neil Hill. By 1983 the duo had been joined by other artists including Sinan Leong, Brian Williams (Lustmord), John Murphy, Karel van Bergen, Mike Wilkins, and James Pinker. During its early period from 1978 to first half of 1983, SPK was without a doubt a groundbreaking protagonist for the whole industrial music movement to come, with such releases as Information Overload Unit and Leichenschrei. SPK can be considered as influential as other industrial legends including Throbbing Gristle, Clock DVA, and Cabaret Voltaire -- there is no way to avoid this band when talking about the industrial movement. This deluxe box set, containing seven LPs and one 7" in a deluxe book-like folder and outer holder, collects all of SPK's early works and documents the band's history prior to Graeme Revell signing with WEA and taking a slightly different, more commercial path with the band's musical output. Includes the following LPs: Information Overload Unit (1980), The 7" Tracks (1979-1981), Leichnschrei (1982), Backing-Tracks for Leichenschrei (1982), Other Studio and Compilation-Tracks (1982-1983), London Heaven 31.10.1982 (Mixing Desk Master)/Tracks from London Electric Ballroom 26.April 1983 (Audience Copy), and Backing-Tracks for Electric Ballroom and Brixton Ace Show, plus a bonus 7". The performances at the Electric Ballroom and the Brixton Ace were the only SPK performances to feature these backing tracks. With the exception of "In the Dying Moments," none of the material from this period was ever recorded in the studio.
Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria, Germany. It was mixed in Conny Plank's studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School; layered sequencer patterns, swirling chord tapestries, a computer beat here and there. Eastern elements or hints thereof add a particular charm to Baumann/Koek, reissued here for the first time. Rumors persist that Peter Baumann of Tangerine Dream is behind the Baumann/Koek project. But in actual fact, Baumann/Koek can unequivocally be identified as Wolfgang Baumann (no, not the MPS Records cover artist), born in Kempten in 1950, and his friend Ata Koek (Köktürk, to be precise), born in Istanbul in 1956. In their mid-20s, the pair made the trip from Kempten to Bonn with the singular aim of visiting the legendary Synthesizerstudio Bonn, the very same store where Kraftwerk and countless other electronic icons went shopping for their equipment. They purchased a secondhand ARP 2600, began experimenting, and realized that they needed more gear. Before long they had added an ARP sequencer, a Solina String keyboard, and an EKO Compurhythm drum computer to their arsenal. Last but not least, they acquired a four-track recorder and were ready to commit their music to tape, before going to the expense of booking Conny Plank's studio for the mix. They pressed up 1000 LPs and paid the production costs themselves. The album was well-received and the Swabian wholesaler Jaguar Records stepped in for worldwide distribution, but unfortunately went bankrupt shortly afterward. Baumann and Koek were disinclined to take on any further financial risk and decided against a follow-up record. The music clearly references the Berlin School, with a hypnotic maelstrom of sequencer patterns and swirling tapestries of mostly minor chords, underpinned at times by a computer beat. What really sets the music apart from comparable productions is the subtle influence of Arabian tonality, which saw Koek consciously introduce just a hint of Eastern flavor. If Baumann and Koek considered their "modest" equipment to be a hindrance, their music sounded all the better for it. There is a raw, unpolished quality to the tracks, a clarity that draws the listener closer, far more so than the bombastic productions of contemporaries like Tangerine Dream, Klaus Schulze, et al.
The Psychedelic Sounds Of... (180 Gram Vinyl) LP
S.P.K. Dokument: Recordings 1979-1983 7LP BOX/7"
Sex Works Beyond Entanglement LP
Such Heavy Conviction: Recordings 1981-1983 5LP BOX/7"
A Selection of Diary 5 12"
[Cease & Desist] DIY! Cult Classics from the Post-Punk Era (1978-1982) 2LP
At Music Inn (Guest Artist: Jimmy Giuffre) LP
Early Experimental Electronic Music 1954-72 2LP
Afro Sci/Piano Seduction 10"
Burial Tonight/Commercial Bwoy 12"
The Scorched Earth Interpretations 12"
The Blues and the Abstract Truth LP
Obserb Life/Obserbing Dub 7"
Love Is Where You Find It/Version 7"
Fatal Light Attraction 2LP
Shake It Up/Cosmic Jam 12"
Are You Psychic?/Astral Decoy 12"
The Throne of Blood OST LP
Demons: Original Soundtrack LP
Demons: Original Soundtrack PIC. DISC
1 Year Made of Concrete 12"
He Was A Friend/Try Not I 12"