Pieces (Original Motion Picture Soundtrack)
"You do not have to go to Texas for a chainsaw massacre!" The soundtrack for cult slasher movie Pieces (1982) is now available for the first time ever on vinyl. A plot filled with so many holes it's impossible to follow, chainsaws cutting heads left and right, downright terrible acting, hilariously absurd scenes, and a brilliant soundtrack -- Pieces is exactly what you think it is: one of the best movies ever made! Praised by the likes of Eli Roth (Hostel (2005), Inglourious Basterds (2009), Grindhouse (2007)...), this rare slasher has become a fan-favorite over the years and can be seen in horror movie festivals around the globe. Its original score is surprisingly elegant, full of eerie jazz, menacing synths, and soulful escapades -- a well-balanced mix finding its influences in giallo and blaxploitation soundtracks of the '70s and classic horror movie music of the '80s. This limited vinyl edition includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of poliziottesco movie La Polizia Sta a Guardare (1973) (the main theme of which was reborn in 2007 in Quentin Tarantino's Death Proof), multiple scores for Spaghetti Western movies starring Tony Anthony, and winner of a Nastro d'Argento award for best score for The Anonymous Venetian (1970). Also found on Pieces are compositions by Carlo Maria Cordio, who scored Joe D'Amato's gorefest Absurd (1981) (which some might know as Anthropophagus 2, Monster Hunter, Horrible, or The Grim Reaper 2), a movie so shockingly violent it became one of the "Video Nasties" of the UK and was successfully prosecuted under the Obscene Publications Acts in 1984. Lucio Fulci's frequent collaborator Fabio Frizzi (responsible for the music of classic horror movies Zombie aka Zombi 2 (1979), L'Aldilà aka The Beyond (1981), City of the Living Dead aka The Gates of Hell (1980), and the list goes on) also makes a special appearance with the sexy "Cocktail Molotov." Also included on the soundtrack are tracks by Stephen Ham & Alain Leroux and Enrico Pieranunzi & Silvano Chimenti, and, as a bonus, an audio recording of Pieces' original movie trailer!
"10 tracks of potent, crackling dub abstraction and sound system meditations. This album is a special SKRS dedication to the all powerful divine feminine force, the international Gyal dem! Housed in an incredible gold, black, & white printed sleeve designed by SKRS in-house visual wing, MYSTERYFORMS. Limited to 550 copies."
LP version. Includes CD. The artists: Hans-Joachim Roedelius (piano), Onnen Bock (piano), Armin Metz (piano). The music: minimalist, spherical sounds by three grand pianos. Introverted, minimalist "classical" music has reached full bloom as devotees of the neo-classical movement flock to see the likes of Nils Frahm, Ólafur Arnalds, and Chilly Gonzales. One pioneer of the resurgence in minimal piano music is Hans-Joachim Roedelius, best known as a member of the avant-garde electronic combo Cluster. He released an album of solo piano (Wie das Wispern des Windes...Like the Whispering of the Wind) in 1986 (BB 066CD/LP), and has since issued numerous albums on which the piano plays a dominant role, either as a solo instrument or as a component in electronic collaborations, as with Stefan Schneider (To Rococo Rot), for example. Qluster was undoubtedly the most important collaborative project he was involved in. This spelling signified the group's third incarnation, having been founded under the name of Kluster in 1969 by Roedelius, Dieter Moebius, and Conrad Schnitzler. Schnitzler quit Kluster in 1972, leaving Roedelius and Moebius to carry on as Cluster. When the duo disbanded in 2010, Roedelius continued to fly the K/Cluster flag, this time as Qluster, joined by the keyboarder and electronic musician Onnen Bock. The duo again became a trio in 2013, when Armin Metz, an adventurous virtuoso on the bass, joined Qluster's ranks. Tasten can conceivably be described as the successor to the 2012 album Antworten (BB 077CD/LP), on which grand pianos played a similarly significant role. While Antworten featured singing bowls, Tasten is exclusively a piano work, one which sees the instrument used at times in unconventional, percussive ways, its strings plucked or stroked. Qluster explore the musical depths of three Steinway concert grands to their fullest potential. Spherical sounds of three overlapping instruments, complete with gentle tones and little melodies, sporadically culminating in impulsive sonic storms. A wonderful piece of neo-classical music by three masters of their art.
On this long-gestated follow-up to 2013's eponymous EP, Simon Pomery's Blood Music project continues to rage, syncing Taiko-inspired drumming patterns with vicious metal guitar dissonance and contact mic haptics. "Chicks" runs at a febrile EBM heartrate, pelting modular palpitations made alongside Russell Haswell against walls of guitar feedback-as-melody like a thuggish Keiji Haino. "Badgering" reengages the 'floor with improvised, squabbling electronics around rowdy drums and bugged-out vocal glitch, recalling Endless-era Pan Sonic and strobing Bunker acid parties. Luke Younger aka Helm's remix of "Chicks" uses electroacoustic phasing to reimagine the original's techno cravings and bring forward the original Taiko inspiration.
Dial Records celebrates its 2015 15th anniversary with a magnificent compilation. All (DIAL 032CD) offers a collection of exclusive works by long-related label artists and friends. Part 1 of the 12" edition features contributions by Stefan Tcherepnin, DJ Richard, Christian Naujoks, Pantha Du Prince, and Queens.
Working with a quiet intensity since 2003, Strategy has proven himself to be an incredibly resourceful and rewarding musician in both group settings and as a solo artist. In the latter guise, this Portland, Oregon producer/multi-instrumentalist (aka Paul Dickow) has released a prolific amount of excellent work for quality indie labels such as Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte, putting a cerebral yet sensual spin on dub, ambient, post rock, and house music. For his Further Records debut, Noise Tape Self, Strategy delves ever deeper into his more ambient inclinations and experiments with tape loops. Dickow says he became obsessed with making tape music in 2008, after tiring of using the computer as his main instrument. Fellow Portland producer/ingenious gear-tinkerer David Chandler (Solenoid) taught Dickow "how to make a tape loop that could be put inside a cassette tape. I got really into this, and got a 4 track, knowing this would allow me to have four synchronized loops per tape. I would then run each channel through a series of effects and 'perform' live mixes using the loops. I alternated between using source material of my own devising and using whatever source material happened to be on the cassettes I was hacking." Noise Tape Self kicks off with "Awesome Piano," in which a fragment of a beautiful piano motif gets overwhelmed by a glorious vortex of static and distortion. "Cassette Loop" is a gorgeous ambient piece with a lulling, aquatic quality that recalls such masters of uneasy listening as Rapoon, O Yuki Conjugate, and Aube. "Ominous Lovely Piano" is a ghostly, microcosmic form of dub, an ultimate kind of headphone music of deep psychedelic interiority that's reminiscent of Paul Schütze's 1996 masterpiece, Apart. The hypnotic/amniotic ambience of "Lovely Loop" whispers of a peaceful eternity; this track could be an important step toward a new, improved strain of new age. The album closes with "Rhen's Loop"; here's where the album really soars into the stratosphere and grows surreal wings. A five-dimensional headfuck of what sounds like analog-synth growls and whirs and desolate drones, "Rhen's Loop" is Doppler effected and disorienting, like a more somber take on Conrad Schnitzler's Ballet Statique (MINIMAL 004CD/LP). With Noise Tape Self, Strategy has found a way to build works of compelling, intimate grandeur with some of the humblest of sonic atoms. It's an alchemical wonder. Mastered by Pete Swanson and cut by CGB @ Dubplates & Mastering.
LP version on 180 gram vinyl; edition of 500 copies. Fatima's Hand is West Yorkshire based solo electric guitarist Dean McPhee's second full-length album and the follow up to 2011's critically acclaimed Son of the Black Peace (PTYT 047). Fatima's Hand is a meditative and quietly intense album combining influences from British folk, dub, Moroccan trance and ambient/drone. McPhee's sparse, melodic and echo-laden guitar playing on Fatima's Hand has been compared to Vini Reilly, Fripp & Eno and Loren Connors but his singular approach to the instrument is very much his own. Steve Barker of BBC Radio Lancashire's On the Wire program described Dean as "definitely one of the leading contemporary guitar stylists in the UK, and in the world". Fatima's Hand features cover art by Federico Cortese which is beautifully presented on a matte laminate sleeve.
Double LP version. The vinyl version is structured with DJs in mind, and features eight club-leaning tracks over four sides. Post Scriptum 01 is the debut full-length album from anonymous producer Post Scriptum. This stunning full-length thoroughly outlines the sonic intentions of the project. Post Scriptum stands for rich, highly detailed modern techno electronics. References to Mills-School bleep and unearthly, sci-fi tones are clear to hear. The album features original photographs by Swiss mixed-media artist Julian Charrière, taken on-site at a former Soviet nuclear testing ground. The negatives were first exposed through the camera, and then laid on the radioactive earth where interference occurred, resulting in the highly textured end images. Parallels to the process can be drawn throughout Post Scriptum 01, where classic techno sound sources are clear to hear, alongside complex processing and a very original approach to arrangement that flavors and colors each track. With titles like "Interstellar Medium," "Decelerate At the Destination," or "The Extreme Distance," clear space-time themes emerge, evoking imagery of the ongoing human quest for survival, on this world, and eventually others.
Kuedo and Joe Shakespeare's hugely promising Knives label debuts with the hyper-lucid constructs of J.G. Biberkopf's Ecologies, housed in suitably striking artwork by Joe Hamilton. Hailing from Lithuania, Jacques Gaspard Biberkopf has hatched a dramatic and immersive aesthetic, drawing upon cutting-edge instrumental grime, net phenomenology, and cyber-ambient sound design to patch collaged spheres working across club, theater, and digital radio contexts. As with the output of contemporary artists like T C F or Elysia Crampton, thru to his networked peers such as v1984 and Sentinl, J.G.B.'s music describes imagined topographies, scenarios, and environments in hyperreal detail -- emulating and accelerating the natural world in complex, crystalline bursts of code; a field trip into the representations of nature that emerge from the digital-social media scape. In six succinct pieces, he traverses a sci-fi soundtrack's worth of ideas and atmospheres between the perilous entrance of "Air. Coltan. Carbon. Lithium" and the deliquescent, hyaline geometries of closing peak "Weakness," with its poignant mantra, "every day, every night." Between those coordinates, he renders a world of sheer 3D gradients and dynamics, scaling the weightless, Ballardian grime chicanery of "Spirit" and impeccably timed lacunae of "Waters" before the narrative plunges vertically into the corrupted sim-stim proprioception of "Black Soil" and follows the gyroscopic slowfast tekno rollcage vectors of "Age of Aquarius." Accompanied by the hyper-natural sleeve art of Australia's Joe Hamilton, Ecologies is a very necessary look for anyone in pursuit of vivid, synthetic, and cinematic sensation from modern music. Mastered and cut by Matt Colton; limited pressing.
Dreader UK pressure from Bristol via London on PAN affiliate Beneath's Mistry label. The label's fourth drop -- Laksa's first -- opens with "Draw for The," all sloshing subs and roiling drums in cold, brittle echo-chamber style. "Baded" drops the tempo a bit but simultaneously brings up the temperature, finding a woozy sub-tropical swagger in its hard surfaces and synthetic bird calls, while "Touchdown" forges a killer bleep-techno mutation hinging on roving subs synched with sub-aquatic cowbells and body-scanning pads to counter the EP's icier aspects. Early support from Ben UFO, Pearson Sound, Bill Kouligas, Lee Gamble, and Zenker Brothers.
Remixes of "Laid Out," the first single from Funkstörung's 2015 self-titled album (MONKEY 059CD/LP), featuring Anothr on vocals. Anstam's genius remix stacks various rhythms on top of each other; its bubbling bass drone at the center and fractured synth arpeggios create a hyper-futuristic dance track. Mouse on Mars continue fleshing out bass music until it funks; their remix is somewhere between UFO trap and synth footwork, and it's the heaviest banger here. Both Funkstörung themselves and Alex Banks turn the original into a smooth, euphoric track fit for the dancefloor but not too focused on the primetime.
The Fear Ratio (Mark Broom and James Ruskin) present Refuge of a Twisted Soul, an album of sheer quality, and deep and heavy music. A truly prolific artist, Mark Broom has worked with world-renowned labels and artists for decades, beginning in the summer of 1989, when Broom landed in Tenerife on vacation and stumbled across the delights of the emerging sounds of Chicago and acid house. Returning to the UK, he immediately went in search of this newfound music, and bought a pair of turntables. With them a musical career was born. James Ruskin has been working in music since the early '90s, and is considered one of the leading artists of British electronic techno music, as both producer and DJ. Ruskin comes from a background that first put him in touch with hip hop and electro in the '80s and later with the emerging Detroit techno scenes, which inspired him to become a DJ in 1991 and then venture into production in 1994. Ruskin remains a vital element in the British techno scene.
Smallville regular STL follows his 2014 album At Disconnected Moments (SMALL 008CD/LP) with Simply Positive. Within its two tracks, Stephan Laubner meanders along the crispy, raw ways, with the special groove that makes him stand out from everything you've heard. Only STL knows how to maintain this tension. Welcome to euphoria.
From start to finish, this album features the most insane jazz-funk tunes ever released on a library LP from Italy. Amleto Armando "Puccio" Roelens was a great and in-demand composer and arranger of his time, working for Rai and Vedette Records and as an orchestra leader and pianist. Along with his 1977 album Rock Satellite, Research of Sound, originally released by the Italian Edipan label in 1976, is a killer funk record all the way through, and the most similar record to Stefano Torossi's mythical Feelings (1974). Incredible b-boy drum breaks in this session with spacey Fender Rhodes, cosmic synth, mad fuzz and treated wah-wah, heavy basslines, and a huge horn section that sounds like it features Dino Piana's jazz trombone... This first-ever reissue is remastered from the original master tapes and pressed on high-quality 180-gram vinyl.
German DJ and producer Marco Niemerski aka Tensnake follows two 2014 shows for BBC Radio 1's Residency alongside Gerd Janson, and a 2014 tour schedule that took him from Panorama Bar to A Club Called Rhonda, with "Keep on Talking," a tingling, infectious cut defined by an exuberant bassline and lush, wandering synths. "The Walk" takes a darker, more minimalist tone with slinky, staggered house beats. Building to a crescendo of strings amid a flurry of synths full of compacted energy, this is a record that sees Niemerski return to the sound of his iconic Coma Cat (PERMVAC 049EP, 2010).
Timely reissue of Mike Ladd's crucial and seminal 1999 work Welcome to the Afterfuture. Summoning b-lines, electronic spatter, jazz wig-outs, hard hip hop, Indian ragas, and soundtrack ephemera, Mike Ladd chooses a different voice (and sometimes an absence of voice) for each tune. He runs hyper-literate, pun-stuffed rap against pitched-down crooning; pif-punk call-and-response against uninflected reportage; preacher's cadences against poetry. This deluxe double LP reissue is packaged with an 11" x 11" booklet containing exclusive pictures, lyrics, and literature from prominent writers and critics, as well as exclusive vinyl-only bonus tracks and a download code. "Bladerunners" features Company Flow.
"Latin music, is it really foreign to us Africans? I don't think so. Listen to the drums, to the rhythm. It all seems very close to us -- it feels like it's our own culture" --Amara Touré. In late-'50s Dakar, Senegal, producer Ibra Kassé and his Miami nightclub spearheaded a movement blending the Cuban styles of son montuno and patchanga with local folk traditions. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound, brought a breath of fresh air into Dakar's nightlife, and attracted numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Touré, from Guinea-Conakry. In 1958, Kassé invited Touré to join Le Star Band de Dakar, led by Mady Konaté, a group that was immensely important for the development of Senegalese modern music. Touré's talent on percussion was undeniable, but it was his raw, powerful voice and his interpretations of Cuban music that captivated the producer. In 1968, after ten years with the Star Band, Touré headed to Cameroon and formed the Black and White ensemble, with which he performed live through the late '60s and early '70s and released three singles between 1973 and 1976. These singles, included as the first six songs on this compilation, fully epitomize and distill the essence of what Touré had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered -- the perfect foundation for his Cuban interpretations. In 1980 Touré went to Libreville, Gabon, to team up with the powerful Orchestre Massako, with which he recorded Accompagné Par L'Orchestre Massako. This LP has since gained a reputation as one of the very best African albums, and its complete contents are included here as the compilation's last four tracks. These ten treasures, representing Touré's complete discography, have been carefully remastered from original session tapes and vinyl records, and are reissued here for the first time. After the release of his LP in 1980, Touré seems to have disappeared. Apparently he was last seen in Cameroon but his whereabouts are unknown at the time of this release. His music, however, is undeniably alive.
Triple LP version. A remastered version of Biosphere's debut album Microgravity with a bonus album of previously unreleased tracks. From Wikipedia: "Geir Jenssen began releasing his music as Biosphere on obscure Norwegian compilation albums. His first Biosphere releases were the 12-inch single The Fairy Tale and the album Microgravity, both of which were rejected by SSR as unmarketable. Microgravity was released in 1991 on the Norwegian label Origo Sound, and saw wider release via the R&S Records subsidiary Apollo in 1992, to much critical acclaim." All tracks written and produced by Geir Jenssen. All tracks on sides E-F are previously unreleased. Recorded in Skippergata 42, Tromsø, Norway, between 1990 and 1991. Mastered by Stefan Betke. Artwork by Philip Marshall.
Part 1 of 3 LP versions. Tracks by: Phantom Band, Günter Schickert, Faust, Ougenweide, Riechmann, Asmus Tietchens, 39 Clocks, Der Plan, You, Sølyst, and Moebius Plank Neumeier. Bureau B sees itself as a platform for exciting varieties of electronic, free-spirited music, ranging from pop to avant-garde. The label has amassed an impressive catalog of reissues and new productions, including electronic music classics from the 1970s and early 1980s popularly classified as krautrock (Cluster, Roedelius, Moebius, Plank, Schnitzler), alongside new recordings by such formative artists as Faust, Kreidler, Roedelius, Tietchens, and Moebius, to name just a few. To provide an overview of the various musical styles in which Bureau B specializes, the label has created the Kollektion series. Kollektion 04 is curated by Richard Fearless, who listened his way through the label's entire (!) archive and now presents his own very personal selection from the catalog. Richard Fearless is best known as the leader and founder of British band Death in Vegas. German electronic music can be heard as an influence on many of his albums; indeed, even in his song titles, like "Sons of Rother." Richard Fearless has worked with Iggy Pop, Bobby Gillespie, Paul Weller, Liam Gallagher, and Hope Sandoval and has developed into a successful producer and remixer. "To me the bands and labels in the Bureau B archive, current and past, were looking to distant lands, their own 'Neuland,' whether in the future with bands like You and Riechmann, or from a more remote past, like medieval folk band Ougenweide. They were creating something radical and experimental, something that didn't draw on the same rhythm and blues, Anglo-American rock that was saturating the airwaves at the time. They were pioneers in every sense of the word. With all due respect for the music that forged these paths, it was on hearing the mental guitar on Faust's 'Herbstimmung' that I knew to look not only at the so-called golden years of this era, but to look at what these artists were doing later, as well as the new bands that were emerging from those schools.
2015 repress. Subtitled: Funk, Fast Times and Nigerian Boogie Badness 1979-1983. "With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria's oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country's prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afro beat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as 'disco,' but has since been recognized as its own unique genre retrospectively dubbed 'Nigerian boogie.' A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music." Gatefold sleeve.
2014 release. Ultra-rare Ennio Morricone soundtrack for the 1982 horror/thriller The Link (aka Extrasensorial aka Blood Link), directed by Alberto de Martino. The maestro Morricone delivers a stunning score that is by turns romantic and suspenseful, producing several layered foreground/background compositions and disturbing distortion effects, in accordance with the sophisticated mise-en-scène curated by cinematographer Romano Albani (Inferno (1980), Phenomena (1985)). Plays at 45 RPM.
Epic in scale, static, timbre, and stillness, Null is a vast and profound musical project that Luigi Archetti has been pursuing over a long period. His musical research is not about "null" (the German word for "zero") as a mathematical object, as a real number. Instead, the term "null" is used here as a metaphor to describe a state of pausing and anticipatory waiting. The music of Null is characterized by static sounds, drones, and their overlapping and layering. The sound surfaces turn into acoustic "sluggish material" which flows slowly through time and gradually transforms itself. It is a constant gliding, a constant mutation of sound structures. Attempts to discover clearly defined melodies, rhythmically ordered structures, or even beats are to no avail. A universe of sound particles diffuses in the foreground of the musical atmosphere, whereby the sounds do not provide any reference whatsoever to a possible location. All the sounds in Null are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigreed sound fabric which develops a pull-effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events. Null IV-VII, presented as two double-CD sets in an outer box, and follows Null (ZEITC 003CD, 2010) and Null II/Null III (ZEITC 009CD, 2012). All seven CDs are available in a special CD slipcase box as Null I-VII (ZEITC 3-9-18-19).
Mother Goose's Melody: Or Sonnets for the Cradle
10th anniversary double LP edition of the 2005 album, previously available only on CD. Includes the previously unreleased 23-minute track "Sensory," taken from the same recording sessions as Mother Goose's Melody. All compositions written, played, recorded, engineered, produced, and mixed by Andrew Liles. Features guest musician Siôn Orgon from Thighpaulsandra's group. Narration by Alexander Thynn, 7th Marquess of Bath.
1970 was a turning point for Miles Davis, and it proved to be the most consistently intriguing year of his decades-long career. Davis had previously performed exclusively in jazz clubs and festivals, and Dave Holland, when he arrived from England in 1968, noted that he was "shocked at how few people were coming to Miles's concerts." But by the beginning of 1970, in conjunction with the April release of Bitches Brew, Davis began appearing at rock venues, sharing the bill with established rockers like Steve Miller, Grateful Dead, and Neil Young and often playing to audiences of thousands. His appearance at Bill Graham's Fillmore West on October 15, 1970, highlights the transitional phase in Davis's career, with his septet following a relatively consistent set list in order to provide a cross-section of his repertoire to a young and relatively unfamiliar audience. In hindsight, this was an important move, and an acknowledgement of the reality that this was the demographic Davis would need to capture if he were to remain both fresh and relevant. This performance was rapturously applauded by a fresh audience, fully endorsing Davis's profound ability. Hi Hat presents the complete KPFA-FM radio broadcast of this performance, a tribute to the iconic jazz musician that portrays the depth and diversity at work at such a vitally important point in his career. Played by Miles Davis: trumpet; Gary Bartz: soprano and alto saxophones; Keith Jarrett: electric piano and organ; Michael Henderson: bass; Jack DeJohnette: drums; Airto Moreira: percussion; and Juma Santos: percussion. Pressed on 180-gram vinyl. Includes insert with analytical liner notes and photos. Remastered sound.
Don't Just Sing - An Anthology: 1963-1999
"Newly remastered audio. Includes rare archive photos and liner notes Q&A with Krog. The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she's practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog's albums weren't available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999 -- curated with Krog's own input -- we hope to set the record straight. To listen to opening track 'As a Wife Has a Cow' is to jump into the deep end. It's 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too -- and that's Krog's USP. Don't Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer. Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964's By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. 'There is such a thing as too much manipulation,' says Krog today. Recorded with tenor saxophonist Jan Garbarek and bass player Arild Andersen, 1968's Joy is regarded as her masterwork. Tracks from it can be found on this compilation, as can a couple of interesting covers: Joni Mitchell's 'All I Want' and Bobby Gentry's 'Ode to Billy Joe,' both of which show how Krog brought jazz aesthetics to pop songs of the day. 'I remember that there was a lot of buzz around Blue, and Joni Mitchell is, as everybody knows, a very talented singer and songwriter,' says Krog in the new liner notes."
Pieces (Original Motion Picture Soundtrack) LP
The Link (Extrasensorial) LP
Funkstörung (Deluxe) 2LP+CD
Grand Ole Opry Nashville TN CD
Keep on Talking/The Walk 12"
Basement Trax Vol. 02 12"
ABABABABABABAS (Blue Lion Child) LP
I Due Volti della Paura LP
Black Emanuelle: Orient Reportage LP
Gli Orrori del Castello di Norimberga (Baron Blood) 2LP
Gli Orrori del Castello di Norimberga (Baron Blood) (Bloody Red Spatter Version) 2LP
Refuge of a Twisted Soul CD
Refuge of a Twisted Soul 2LP
Expansión Naranja/Ecuación de las Estrellas 12"
Vivere a Tokio: Citta' del Paradiso LP
Welcome to the Afterfuture 2LP
Compost Black Label 126 12"
Atlas/Vodolaz Versions 12"
Don't Just Sing - An Anthology: 1963-1999 2LP
Criminale Vol. 3 - Colpo Gobbo LP+CD
Criminale Vol. 4 - Violenza! LP+CD
Shangaan Electro: New Wave Dance Music From South Africa 2LP
Cosa avete fatto a Solange? LP
Archives Volume 1: Fragments of Machine Soul 12"
Mother Goose's Melody: Or Sonnets for the Cradle 2LP
Jealous of Shit and Shine LP
It's It's Remix Time Time 12"
Beyond the Beyond Plus... CD
Fillmore West 15-10-70 2LP
The Dancers at the Edge of Time CD
We Can Yield Our Own Footsteps LP
Kollektion 04A: Bureau B Compiled by Richard Fearless LP
Kollektion 04B: Bureau B Compiled by Richard Fearless LP
Kollektion 04C: Bureau B Compiled by Richard Fearless LP
Unwise Remix Series #2 12"
Somebody Up There Digs Me LP+CD
Where Suns Come to Die CD
Out There (Dan Curtin Remix) 12"
Omaggio ad Einstein (Deluxe) LP
Dub from Jamdown - Darker Than Blue Conducted By The Senior Allstars LP+CD
You Sleep, They Live! 12"
Look Out (I'm Gonna Blow Your Mind)/Mother Duck 7"
The Old Waldorf, SF CA 21 September 1977 - Early and Late Shows 2LP
The Pied Piper/Too Much Rosita 7"
Voodoo Blues/Gas Happy Mama 7"