Berlin Atonal Vol. 3
Edition of 500 copies, featuring tracks from Cabaret Voltaire, Miles Whittaker, Fis, and Abdulla Rashim. The Berlin Atonal festival picks up on a tradition begun in 1984 with the publication of two volumes of live recordings from the 1983 edition of the festival. Those records bore witness to the most inventive, adventurous sounds of the festival, and therefore of their time, containing live bits from Psychic TV, La Loora and Z'EV. Berlin Atonal Vol. 3 carries this custom three decades forward with selections from four of the standout performances of Berlin Atonal 2014. Of course, Cabaret Voltaire's lauded and historic ﬁrst show in over 20 years is featured, with Richard H. Kirk's no-nostalgia and machinery-driven set ﬁrmly putting the Cabaret Voltaire project in a future-facing direction. Miles Whittaker's surprising and muscular live performance also contributes a cut, as does festival favorite Fis, with his characteristically lumpy, textural soundscapes. Finally, two selections from Abdulla Rashim's memorable session gesture toward a possible future for synthesized music. Housed in a gatefold sleeve.
Apophis by Black Rain (aka Ike Yard's Stuart Argabright) and Shapednoise is named after near-Earth asteroid 99942 Apophis. Black Rain and Shapednoise are clearly ready for the asteroid's potential impact, from the rubbling noise forces and slivers of electronic salvation on "Metal Home" to the thunderous, scudding speedcore mass of "Autonomous Lethality" and the double-timed serpentine lash of "Interceptor." Demdike Stare's Miles Whittaker delivers a reshape of "Interceptor" that exudes sludgy, effluent hardcore techno tropes. Definitely one for Mad Max characters, techno freaks, and noise creeps. Next up on the label: Mika Vainio!
Double LP version. The ascent of Shit and Shine is one of the great audio headfucks in memory, from its genesis out of the South London noise rock revivalist scene to a zone where rabbit-costumed maniacs bled a unique form of multi-drum and electronic hysteria to its incarnation of destroyed lysergic dance music. Shit and Shine is the epitome of second-guess-subversion. With a foot in every pie, it continues on a fantastic, twisted path. Everybody's a Fuckin Expert lays forth another slab of inverted tranquility in which general disruption is kept in check by the subversive charm unique to the outfit. Gunfire rhythms lay waste to androgynous sonics on "Ass"; deep sea disorientation allows pools of plasticine audio to rise on "Rastplatz"; "Picnic Table" rinses electro out of thick, gelatinous cybernetics. Everybody's a Fuckin Expert takes a smorgasbord of sounds and styles and contorts them into a bright hope in twisted theater, disorientating dance, and hefty hedonism. Both the faint- and strong-hearted allowed permanent entry to this club.
A massive, expansive work by Matt "MV" Valentine, featuring a host of guest performers, including Erika Elder, J Mascis (Dinosaur Jr), Jeremy Earl (Woods, Woodsist), P.G. Six, and Michael Flower. An 11-track combination of sprawling jams including the incredible Rudy Rucker-inspired "Freeware" and other beautiful songs across two slabs of wax. A truly wondrous, sun-blinded summer stoner record that throws its sandals in the duffel bag, lets the sand slip through its toes, and tramps off in the direction of a mirage of a gigantic effigy of Ganesh. Double LP pressed on 180-gram vinyl and housed in a stunning, super-heavyweight, UV-coated gatefold jacket with enormous poster insert. Absolute must-have and Golden Lab's personal record of the year. Do not miss!
"Lum Guffin has been called 'The Walking Victrola' -- a human depository of many musical styles and songs. This LP features great performances recorded in the early 1970's of Lum playing guitar and singing. His style is distinctive and beautiful. A true great of the blues genre who has been seldom heard. We are proud to present this beautiful limited edition of his material with a silk screened cover (4 different color variations have been made -- you will get a random selection when ordering). A co-release with the king of blues reissues label, Sutro Park."
"Still charged, the deep tribal trance of Reinier Brekelmans, Reinoud van den Broek and Robbert Heijnen. A Double Dutch mixture of Industrial and Detroit techno, lacing Acid House with some of the liveliest oppositional ideas of the time, about art, nature and politics. From the same neck of the enchanted forest as Psychic TV and Coil... but this album is kicking dance music. Originally released on cassette in 1989. Reissued in silk-screened sleeves, with notes by Reinoud. Great, bracing stuff. 'We are very interested in the methods of "those primitive peoples" who used dance throughout the ages, as a celebration of life or a way to communicate with spirits. To be spiritual is a strange word now but you can break the structures of conditioning with that physical experience. That's the side we're interested in.'
Doppeldoppelgänger, a compilation of tracks by poets and sound artists selected by David le Simple and Vincent Romagny, was created on the occasion of the three-exhibition Doppelgänger cycle at the Centre Européen d'Actions Artistiques Contemporaines, Strasbourg, France, curated by Romagny. The double LP is a purely subjective compilation of sound works by artists (Félicia Atkinson, bruant&spangaro), sound from films by artists (David Lamelas), sound poetry and performances (John Giorno, Karl Holmqvist, Lisa Holzer & David Jourdan), works by cult composers (Benjamin Britten, Jean-François Pauvros, Gérard Pesson, Jean-Claude Vannier), legendary groups (Deux Filles), unclassifiables (Potima Zen Neumann, Joiejoiejoie), and specially-recorded reprises, including Aidons Antoine mixing Karl Holmqvist, Melissa Saint-Pierre reprising Colin McPhee, Anne Steffens and Don Niño performing Kurt Weill, and David le Simple mixing "Minh singt seine Sehnsucht." The album reflects the same concern that drove the exhibitions of the Doppelgänger cycle -- avoidance of thematic and formal constraints in pursuance of shifts in the concept of the "double" -- plus a grounding in literary texts, which are represented by quotations to be found on the sleeve. Gérard Pesson transcribes Brahms's Fourth Ballade from memory years after hearing the work (Nebenstück, 1998); Robert Rauschenberg reads, along with other artist friends of John Giorno, from the latter's Pornographic Poem (Raspberry/Pornographic Poem LP, The Intravenus Mind, 1967). 160-gram LP in gatefold sleeve with artwork by Karl Holmqvist and David Jourdan. Edition of 500.
Highly surreal and wonderfully futuristic, Tacet, one of the best kept secrets of the Futura catalog, is the 1971 soundtrack work of Jean Guérin for Claude Faraldo's anarchic 1971 film Bof... Anatomie d'un livreur. This avant-garde psychedelic jazz masterpiece is a blend of abstract vocals, unusual electronics, twisted sound envelopes, and nervous brass instruments. This first-ever officially-licensed vinyl reissue is the fourth in Souffle Continu's series reissues of Futura reissues, fully licensed by Futura founder Gérard Terronès. Presented in a 350-gram reverse-printed gatefold sleeve with obi strip. Limited to 500 copies.
The 2009 debut self-titled album by Bristol-based project Emptyset (James Ginzburg and Paul Purgas), reissued here, formed the initial departure for the duo's ongoing exploration of time, structure, and analog technology. The album highlights the project's development and the foundation of its studio-based production process, forming the first part of a triptych spanning Demiurge (SUB 001CD/010LP, 2011) and Recur (R-N 151CD, 2013). Emptyset creates the first point within this narrative, initiating a dialogue between full-frequency audio, noise, and the emergent properties of sound, and the starting point for their contained sonic approach.
Part one of two double LP versions. Tracks: Fonda Rae's "Living in Ecstasy (Mood II Swing Groove Mix Edit)," A Bitch Named Johanna - Freak It (Instrumental), Voices's "Voices in My Mind (CJ Mackintosh Remix)," Kerri Chandler's "Ladbroke Grove," Ralphi Rosario's "An Instrumental Need (Club Need)," Gisele Jackson's "Love Commandments (Original Vocal Edit)," Mateo & Matos's "New York Style," and Thelma Houston's "All of That (Joey Negro Club Mix)."
"Compilation of blues and gospel recordings made by George Mitchell between 1962 and 1976! The deep hill country stomps and blues of RL Burnside, Rosa Lee Hill and Jesse Mae Hemphill, The hard driving electric guitar and drum music of James Davis, the haunting gospel ballads of Robert Johnson (not the one your thinking of) and James Shorter, the flowing beautiful blues of Joe Callicott, Furry Lewis and Jesse Lee Vortis, the drum and fife music of Napoleon Strickland and much more. This is the third in the Mississippi series of releases of field recordings by George Mitchell. (the first and second are the Been Here All My Days and Sticks Over My Shoulder LP's.) Some of our favorite songs of all time and not to be missed. Old school 'tip on' covers."
Bernard Vitet was a key figure in the French free jazz and improv scene of the early '70s. This mythical avant-jazz LP, originally released in 1972, is the result of a truly magical session he put together in December '71 with Beb Guérin, Jean Guérin, Françoise Achard, Dominique Dalmasso, Jouck Minor, Francois Tusques, and Jean-Paul Rondepierre. Not just free jazz from the '70s, the music has some 20th-century elements that recall some of the most memorable albums on the Italian label Cramps Records. This first-ever officially-licensed vinyl reissue is the fifth in Souffle Continu's series reissues of Futura reissues, fully licensed by Futura founder Gérard Terronès. Presented in a 350-gram reverse-printed sleeve with obi strip. Limited to 500 copies.
Mars Archives Volume One: China to Mars
"Following the success of the two live LPs bookending Mars's trajectory through the skies of NYC, Mark Cunningham was convinced to return to his legendary box of cassettes. Even he was surprised to discover the band's earliest shows (done under the name China) were there, amidst a tumble of other tapes. Thus, the idea was born for a trilogy of LPs tracing Mars's development from their first audition gig at CBGB through the shows following their 1980 Lust/Unlust EP. China to Mars is the first volume, and really displays for the first time how much the band's earliest music was a mutated variation on some of NYC's extant juggernauts, in particular Television and the Patti Smith Group. While their sound was clearly their own, the textures and techniques they're using to achieve them are far less alien than they'd become. Side one was recorded at China's audition night at CBGB in Feb. '77, and their follow-up show in June. It's amazing how good it sounds. And the songs are almost all unheard (apart from 'Cry,' which appeared on the 2012 Anòmia tape box). Even "3E" is nearly unrecognizable from its released version recorded the following year. The second side is from Sept. '77, once they had started calling themselves Mars. The shuddering blocks of sound for which they are known are beginning to coalesce, and Sumner's dark vocals are pushed to the fore. The music is stunning. You can hear the band on the very cusp of transforming itself into the group that recorded those incredible early sides. Wow, can't wait for the next two volumes" --Byron Coley, 2015. Edition of 800.
Cititrax: Tracks Volume One
"Cititrax is excited to present the first in a series of four song samplers showcasing the talents of some of the most innovative producers of the moment. Cititrax: Tracks Volume One features Amato, an edgy new project brought to you by The Hacker, Tzusing, a young producer from China known for his hard-hitting L.I.E.S. releases, our beloved Berlin based former New Yorker An-i, and Oliver Ho's stunning Broken English Club. The overall sound can be described as modern, uncompromising and guttural. Each artist reinvents dance music by bringing their own unique vision to the floor. Artwork designed by Veronica Vasicka and sourced from Polaroids shot in NYC clubs in the 1980s, Cititrax: Tracks Volume One continues the theme of the one of a kind vinyl pressing of blood red inside clear -- limited to 999 copies and housed in a matte printed sleeve."
Limited 7 inch collaboration between Ólafur Arnalds and Nils Frahm featuring two exclusive tracks not available anywhere else.
Double LP version. Edition of 1000. Another smoker from Acid Mothers Temple & The Melting Paraiso U.F.O., in typically fine form. Benzaiten is an In C-style homage to the classic Osamu Kitajima record Benzaiten (1973). Acid Mothers Temple covers the title-track and reprise using Kitajima's original composition as a departure point to explore the outer realms of AMT territory. Further instrumental explorations reveal textures of the original composition while launching out further into the cosmic domain. Numerous Acid Mothers originals are scattered in between. Benzaiten!
Available on 180-gram yellow vinyl with download code for the original CD's 33-minute closing track "Sound of Confusion," excluded from this LP. This the first time that this title has been available on vinyl. At the risk of belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music to be released in 1996, The Brian Jonestown Massacre parallels the prolific and effortless brilliance of The Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is The BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp!, the label that gave them their start, and later for TVT and Tee Pee. The BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the band's name combines the name of Stones founder Brian Jones with a reference to cult leader Jim Jones -- but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
Germany-born and Derbyshire-raised musician, painter, and mathematician David Tyack began working under his Luxury Apartments moniker in the summer of 2002, exploring potential film and animation synchronization with nods to his growing penchants for neoclassical, free jazz, and minimal music. He had recently finished a self-penned conceptual LP with original Can vocalist Malcolm Mooney, and been writing and recording for then-yet-to-be-mixed LPs by Jane Weaver's Misty Dixon and his own band D.O.T.; his Luxury Apartments work, a series of experimental recordings made at his compact home studio on Clyde Road in Didsbury, Manchester, counterbalanced his ambitions to record a fully-realized singer-songwriter album. Completed just months before Tyack's untimely accidental death on the island of Corsica, Luxury Apartments reveals him at his uninhibited best, displaying some of his most adventurous, dedicated, and unapologetic solo excursions into sound-design, improvised composition, and electroacoustic territories -- the result is a unique blend of dark ambient, mechanical folk, PINA stylings, and coldwave DIY rhythms. Drawing comparisons to the varied works of Sorgini, Eno, Liska, Stabat Stable, Martin Zero, Luc Mariani, Walter Branchi, and the lost electronic work of Don Cherry, these previously unheard tapes are presented here in unedited form, compiled exactly how Tyack intended the record to be pressed should any independent record label have the foresight to take the plunge into his creative pool. Released with blessing and encouragement from the Tyack family, this is the first unreleased music to come from Tyack's extensive archive, which was shared with close friends and creative collaborators regularly during his creative years in Manchester between 1997 and 2002. Artwork and liner notes by Andy Votel. Limited edition of 500 copies.
Prolific Dutch artist Conforce delivers Presentism, marking something of a subtle evolution in his sound, returning to a more organic and immersive aesthetic. Made using various bits of outboard gear, it fuses dub rhythm with ambient detail and propulsive 4/4 kick drums to make for absorbing listening. Once again, then, this album proves that no one does deep electronic music as well as Conforce.
Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line
Ola Belle Reed and Southern Mountain Music on the Mason-Dixon Line is the first in-depth look at the life of Ola Belle Reed, a groundbreaking artist and one of the all-time greatest performers of authentic, old-time music. Born to a musical family in the mountains of Ashe County, North Carolina, in 1913, Reed became a prolific songwriter and performer, known for her unique style of banjo playing and singing. Reed inspired many musicians throughout her life, eventually becoming one of the leading lights of the folk music revival and winning the prestigious National Heritage Fellowship; in 2015, 13 years after her death in 2002, her influence continues to reverberate. In January of 1966, folklore graduate student Henry Glassie made the first professional solo recordings of Ola Belle Reed, travelling from Philadelphia to the town of Oxford, Pennsylvania to see Reed, Alex Campbell, and the New River Boys and Girls play their exciting brand of Southern mountain music live, on the air, in the back of the Campbell's Corner general store. Over the next two years, Glassie -- who went on to become one of the United States' most celebrated folkorists, a distinguished professor, and a world-renowned scholar -- recorded Reed's extensive repertoire, while also chronicling the remarkable story of the migration of communities from the Blue Ridge Mountains toward the Mason-Dixon Line before WWII. In 2009, Maryland state folklorist Clifford Murphy struck out to discover whether this rich musical tradition still existed in the small Maryland, Delaware, and Pennsylvania towns where it once flourished. Murphy, amazed by what he encountered, began making audio recordings to document the descendants of Ola Belle Reed's musical legacy. This first-ever release of Reed's 1960s recordings, which were deposited in Indiana University Bloomington's Archives of Traditional Music, is counter-balanced by a disc of Murphy's recordings of Reed's descendants and those within her Appalachian community whom she inspired. This deluxe edition, presented as a 256-page hardcover book with two CDs of remastered recordings, highlights Reed's deep repertoire -- folk ballads, minstrel songs, country standards, and originals -- and traces the impact that her music made and is still making today. This project is a co-production between Dust-to-Digital, Maryland State Arts Council, and Indiana University. Includes performances by Ola Belle Reed, Dave Reed, Alex Campbell, Hugh Campbell, Zane Campbell, Burton DeBusk, the DeBusk-Weaver Family, Burl Kilby, T.J. Lundy, John Miller, Danny Paisley, and Ryan Paisley.
Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra's VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There's a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album's intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: "Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms -- each element of a track suggested a form that intertwined with the other elements." White vinyl; edition of 300.
Playing Moondog's Music
2015 repress of this 2004 reissue. Recorded in 1955, released on his own short-lived Moondog label. 4 tracks of manic saxophone and snare drum mayhem. You will not find an original of this anywhere. Blind from the age of 17, classically trained in music, Moondog aka Louis Hardin left the countryside in the late 1940s to busk on the streets of New York, playing percussion instruments of his own creation. He later became the darling of the NY arts and music set. He also recorded for Folkways, Woody Herman's Mars label, then Prestige and CBS.
Pinkcourtesyphone sends you a Sentimental Something from the depths of its obsessed heart. A sonic love note of smudged ink. Joined by the otherwordly Evelina Domnitch, friend and former cover model and vocalist on the acclaimed 2014 Description of Problem CD, which also featured contributions from Cosey Fanni Tutti, Kid Congo Powers, AGF, and William Basinski. On the central core, "Tears of Modernism," Miss Domnitch wields her dark magic on theremin, weaving a mournful kiss on the envelope from beyond. Packaged in a pink jacket on thick board stock with a lush matte finish; limited to 300 copies. Richard Chartier (b. 1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art that has been termed both "microsound" and neo-modernist. Chartier's minimalist digital work explores the interrelationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Chartier's sound works and installations have been presented internationally in galleries and museums, including the 2002 Whitney Biennial, and he has performed his work live across Europe, Japan, Australia, and North America at digital art and electronic music festivals and exhibits. In 2000 he formed the record label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th-century acoustic apparatus for scientific demonstration. Pinkcourtesyphone is a more emotional, even musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.
Birds of Prey is an ever-evolving process of chaos, immediacy, and necessity. Like an organism emerging from the sea to walk on land for the first time, there is no grand plan, and no going back. The story of the group's friendship in many ways mirrors their method. They were brought together by a shared fascination with the sublime potential of electricity to generate something unknown, and a mutual trust that a path would reveal itself as they move forward through the dark. Originally conceived and composed live in Brooklyn, Birds of Prey is a collaboration of live electronics by Grant Aaron, Eric Holmes, and Camille Altay. This is the third release on Ricardo Donoso's Kathexis label. Limited to 300 copies; initial copies on white vinyl. Includes download code.
LP version. Tapper Zuki's debut album Man Ah Warrior was originally released in 1973. Its classic deejay style has been copied by many but bettered by few. Man Ah Warrior is proof that raw talent can more than make up for scarce resources. Tapper Zukie (born David Sinclair in 1956, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, Tapper and his peers had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town. To prevent him from landing in even more trouble, Tapper's mother, brother, reggae producer Blackbeard, and family friend Bunny "Striker" Lee devised a plan to send the wayward Tapper to England to set him straight. A UK tour with the number-one reggae deejay U-Roy was already arranged upon Tapper's arrival; Bunny Lee got the young Tapper to toast over a Slim Smith rhythm and the London crowd loved it. He also caught the eye of producer Larry Lawrence, who took Tapper on and cut his first single, "Jump and Twist." Nine further tracks were recorded for producer Clement Bushay, and the result was Man Ah Warrior. An artist ahead of his time, whose music has influenced many -- as Patti Smith said, "Music of the Most High."
The Baby Huey Story: The Living Legend (180 Gram Vinyl) LP
The Baby Huey Story: The Living Legend (Colored Vinyl) LP
Blank Generation (180 Gram Vinyl) LP
Blank Generation (Colored Vinyl) LP
Chameleon Crystals Vol. 1 12"
Seven Wonders/Nothing Lost 7"
Berlin Atonal Vol. 3 3x12"
Everybody's a Fuckin Expert 2LP
Take Away feat. Black Soda 12"
90's House & Garage Part One 2LP
90's House & Garage Part Two 2LP
The Good Times Are Killing Me 12"
Round Dice Fried Combo LP
La Guêpe (White Vinyl) LP
Summer Rainbow (2015 Remaster) 12"
Bearsong/Primate Remixes 12"