"Back in '94 there was little sense that a new scene was on the horizon, but there was. Indeed, things were beginning to break out all over. All they needed was a little push. In Quest of Tense was released on CD in '94 (FE 038) and was just what a lot of people needed, even if they didn't know it yet, or didn't quite realize what it was when they heard it. Dredd Foole (aka Dan Ireton) had been roving through the Boston music underground since the early '80s, with a series of bands using the name The Din, and then on his own. Bored, stoned, and listening to naught but free jazz and folk, Dredd went into his room with a four-track, a reverb, some guitars, and little else, emerging after a week with this masterpiece. The music takes a weird, improvisation-based electric folk form, something only previously mastered by Tim Buckley on Lorca and Blue Afternoon, and drives it straight into the clouds. Echo-soaked, massively-skronked, glossalalic to the point of no return, In Quest of Tense lit brain-fires from the Lower East Side to Austin. And it may have taken a while for their collective smoldering to erupt into a fire storm, but it did. And here's where it starts. An amazing album, today and always. Finally on vinyl." --Byron Coley, 2015. Limited edition of 400.
Paul Metzger's choices of instruments involve strings and necks, but he is not content to leave them in their original state. On 1300, his ninth solo album and third for Nero's Neptune, Metzger performs on modified guitar and 23-string banjo. The first of the album's two side-long improvisations, "Meend for Shaista," displays the earliest of Metzger's experiments in modification, a revamped Yamaha guitar first displayed on his 2005 debut. The instrument has evolved considerably since then. The neck is now covered in fretless steel, many sympathetic strings have appeared, and a ride cymbal has been attached to the bottom. Metzger applies a percussive string technique and an unorthodox flamenco approach with his right hand, while his gliding left reveals the hidden beauty between the notes. As the piece unfolds, Metzger accompanies himself on tabla while simultaneously playing the guitar; it is at times hard to believe the recording is a one-pass live improvisation made by a single player. On the second side, "Death's Other Kingdom," Metzger breaks out his 23-string banjo. The banjo has extra strings added (including a zither-like spray of 13 fanning out over the drum head), with the skin and sides of the banjo utilized for percussive effect. The piece begins with a slow-burning bowed section. Metzger's bowing has evolved from single-note glissandos into a full-neck chordal style, showing impressive strides in development and refinement. Echoes of North Indian classical music, 12-tone music, and Asian musical forms inform his work. Once the bow is set aside, Metzger's dexterous finger-work and flat picking bring forth a thematic arc, building to blinding velocity as the piece comes to a climax. The cover of the album features the artwork of Metzger's paternal great-grandfather Max Kleiter, whose drawings appear in early issues of the German art nouveau publication Der Jungend. The piece dates from 1901, but is as timeless and singular in style as the music contained within.
This double LP documents Stephen O'Malley's Eternelle Idole, his score for Paris-based choreographer Gisèle Vienne's artistic ice-skating piece of the same name. Comprising 47 minutes of music spread over three sides and enhanced by an elegant and chilling photoset by Estelle Hanania, the album features familiar O'Malley collaborators Steve Moore, Daniel O'Sullivan, Peter Rehberg, Jesse Sykes, Bill Herzog, and Randall Dunn. Recorded between Brest, France; Seattle; and Rotterdam, the Netherlands, the score sees O'Malley taking several creative detours, utilizing modular synthesizers and programming as key elements for much of the composition. Eerie keyboard- and piano-phrases draw a white, monochrome stage for a young girl's stark and emotive elegy. Clavichord and guitars weave through the darkness, supported by Sykes's prophetic voice. Mirroring the score, Hanania's 16 photographs of the choreographic piece display the grace, sustain, geometry, telemetry, distance, and perfection of ice-skating, as well as possible falls and gloomy shadows. Metal against ice; tights and knots; spirals and scratches; shouts and winds -- field recordings mold a crispy atmosphere while instruments draw lakes, ice skating rings, cosmic belts, and a terrestrial cloud passage and eventual landing platform for a flying saucer. 180-gram white double LP with 16-page, 30 x 30-cm, saddle-stitched, full-color booklet in 350-gram sleeve with gloss varnish. Edition of 500.
"I'm always looking for ways to escape that 'block-y,' downbeat-centric feeling," says Clay Wilson. "For me, it's the drone -- what's going on in the background -- that serves to hold my interest." Behind the tightly-wound techno core of "Cataleptic," the sound of a babbling brook and a plaintive, meandering bird call gently give way to the tintinnabulation of a distant bell. But make no mistake -- Wilson's productions are designed for the dancefloor through and through. The static kick-hat pattern of "Feres" contrasts with chunky, stepped percussion, before the ghostly vocal sample (or merely something approaching it) of "Pict" repeats underneath it all.
Magic Castles are a five-piece band from Minneapolis, MN. Their sound has been described as droney psychedelic pop, combining the organ-drenched hazy atmospherics of the mid-/late-'60s with sun-drenched West Coast folk-rock. Magic Castles toured with The Brian Jonestown Massacre in 2012 and released a beautiful 12" split single with The BJM on Record Store Day 2014. Their 2014 sophomore album, Sky Sounds (AUK 114CD/LP), and successful West Coast tours see the band reaching new heights. At the time of this release of their third album, they are undertaking their first European tour, concluding with an appearance at the Liverpool International Festival of Psychedelia.
Berlin-based Italian/Belgian duo Lumisokea present Mnemosyne, shedding the bass-heavy rollers found on 2014's Apophenia (OPAL 032LP), and welcoming space and tension into the fold. Most of the groundwork for the record was made during a week-long residency at the WORM studio in Rotterdam, which saw the duo make full use of the studio's collection of synthesizers from the '60s and '70s. The improvisations with these peculiar machines were subsequently edited and combined with heavily-processed recordings of gamelan bells, prepared piano, cello, and acoustic drums. A meticulous two-year period of reworking and reflection followed before Lumisokea finally arrived at Mnemosyne. An exploration of the gray area of sounds that vacillate between electronic and acoustic; an effort to show their coalescence and kinship, like shadows of forgotten sonic ancestors. Shards of oblique melody merge with slow-burning rhythms; sudden changes of scenery melt into fog-drenched sonic artifacts. In Lumisokea's own words, "The whole process felt like cultivating a garden of the imagination which is in no rush to be opened to the visitors. With this full-length album we explore the more nocturne, narrative and twilight-like angle of Lumisokea. When listening back to it, we had strong images evoking times in an unidentified or unactualized past, like places and events that could have existed, but then didn't. Hence our reference to Mnemosyne, the ancient Greek goddess of Memory."
Previously unreleased guitar-and-synth musical jewel from Italy circa 1984, available on CD with one bonus track following a 2015 LP release (ATN 018LP). An until-now-unknown collaboration between a guitar maestro who composed contemporary dance scores and a gifted electronic music composer. Melodic complexity and rhythmic sonic beauty create a unique and timeless classic that has already achieved cult status among the few who have heard it. Obvious comparisons can be made between Imaginary Choreography and the softer ambient side of vintage German electronic music -- Göttsching, Schnitzler, Cluster, etc., but that would be too easy, as this recording stands alone with its uniquely Italian atmosphere of sophisticated and complex simplicity. This session was recorded by two Venetians: Paki Zennaro (then working with composer René Aubry for choreographer Carolyn Carlson) and Gianni Visnadi (an experimental composer), who met one evening over a glass of wine and decided to work together for the first time with the intention of recording contemporary music to be used by dance schools for study and exercise. The duo recorded on reel-to-reel tape using electronic equipment (Sequential Circuits Pro One and Prophet 5; Roland TR-808 and guitar synth) with an acoustic 12-string guitar. When finished and mixed, a few BASF LH extra cassette copies (maybe as few as six or eight) were sent out to a few friends with a homemade photocopy insert, complete with handwritten track names and production details. This now-famous BASF tape was found one lucky morning by Johanna Heather Anselmo (filmmaker, photographer, musician), while she was searching for musical surprises in a box of tapes that had probably been at that same flea market for 20 years or more. Anselmo is used to rummaging in boxes of dusty tapes, being the girlfriend of Antinote artist Iueke, who has the unusual habit of hiding tapes all over their flat. Iueke found contact information for Zennaro and Visnadi, who were happy to oblige with the release of this almost-forgotten 1984 session. Master tapes were sent to Paris for immediate transfer and mastering, while the Check Morris graphic design team worked with its usual class on adapting and reworking the cassette tape artwork.
Hide Before Dinner is an extraordinary LP from a group comprising Carla dal Forno (Tarcar), Samuel Karmel, and Tarquin Manek (Tarcar, LST). Deeply drugged, synth-daubed death-folk and DIY electronics of the highest order; acutely psychedelic, inscrutable but emotional, sunken but prone to soaring, with flashes of horror too. Beautifully conjures the mirth and murk of childhood summers... a relatable surburban gothic... grazed knees, hide-and-seek, nettle-stings. Trampled flowerbeds and failing light. Ghouls in your neighbor's garden. Think Nico meets Dome or Alison Statton wandering The Pickle Factory after dark. If you dream you die, you die. Cover art by dal Forno and Manek. Layout assistance by Oliver Smith. Cut by Noel Summerville and pressed at Optimal. Housed in full-color gloss sleeve with printed inner sleeve and download code.
Thighpaulsandra presents his seventh full-length album and his first since 2006's The Lepore Extrusion. Well over a decade in the making, The Golden Communion is his debut for Editions Mego. It comprises ten songs and runs well over two hours, with individual pieces clocking in between four and 28 minutes. Featured musicians on the album include regular collaborators Martin Schellard and Siôn Orgon, plus the odd guest/ghost from bands with which Thighpaulsandra has worked in the past. Listeners who have heard any of Thighpaulsandra's previous albums will know that it's best to approach this work with no fixed set of expectations; once again, Thighpaulsandra changes genres and defies easy classification, sometimes more than once within one song. Drawing on his long-time background as a key member in such diverse groups as Coil, Spiritualized, and Julian Cope's band (in each case arguably at the height of the group's creative prowess) and his work as producer and sound engineer for an even larger variety of customers, he offers classical passages next to hard rock riffing; krauty experimental work-outs turning into super-catchy, almost radio-friendly songs; and more. Many adjectives have been used to describe Thighpaulsandra's work -- "epic," "challenging," "timeless," "idiosyncratic" -- but certainly never "predictable" or "boring." Possibly his most rewarding album yet and a welcome and unusual entry in the Mego catalog, The Golden Communion will entertain and astonish listeners who are fond of having their minds severely altered by sound.
LP version. There's something brewing in Southern California -- besides the world's finest pale ale and crystal-clear surf rolling up the shore along Interstate 5. There's been an outpouring of mind-blowing prog-, psych- and free-rock in impeccable form from San Diego County, seamlessly merging jazz tendencies and extraordinary jam-abilities with crushing heaviness, electronics, and a general out-there-ness. Bands such as Psicomagia, Earthless, and Joy have earned SoCal its own unique spot on the worldwide map of psychedelia. At the heart of all this is one young Escondido native, Brian Ellis. A guitar virtuoso in Astra, saxophonist in Psicomagia, and keys- and synth-wiz as well, he's long been cutting his teeth as a grade-A session player in such heavyweight funk outfits as Egyptian Lover, in addition to working as a studio owner and an esteemed recording engineer. It was only a matter of time before Ellis got his own group of local offbeat heroes in the same room to crank out a spectacular piece of prismatic, electric free-form jazz. And here it is. Along with members from Radio Moscow, Corima, and Psicomagia, Ellis has cooked up two vinyl sides of seriously vital jazz-rock, taking up where Miles Davis, Tony Williams, and Donald Byrd left off in the '70s. This music is a far cry from the self-absorbed European free jazz or academic noodling one is likely to meet at any given jazz festival; this music is earthy, like, say, Hendrix at Woodstock, or Davis's Live-Evil (1971) -- a pinnacle challenge of the past that has never met any really satisfying response from contemporary music. There's that unique sense of percussive drift that characterized Can's records in the first half of the '70s -- somehow extravagant, yet also subtle at the same time. The warmth of Ellis's sun-dried Rhodes and cosmic Moog-lines intertwine with Patrick Shiroishi's Coltrane-inspired soprano arabesques. Trevor Mast's thick basslines and a multitude of tribalistic percussion keep it together along with a naturalistic, crisp-sounding recording. It all adds up to a soulful tour de force of everything that's great about the San Diego scene. To be played loudly. File next to: Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, Donald Byrd. Brian Ellis: Fender Rhodes piano, Hammond L-122 organ, Wurlitzer electric Piano, Minimoog, Moog Subphatty; David Hurley: congas and percussion; Michael Hams: drums and percussion; Patrick Shiroishi: alto and soprano saxophones; Paul Marrone: drums, percussion, guitar; Trevor Mast: bass.
Light Wave: Today & Tomorrow
This compilation is a sweet snapshot of a sophisticated sector of young Japanese pop music circa 2014. Originally released as a series of web-only EPs on Dai Ogasawara's Ano(t)raks label, Light Wave features artists born in the 1990s who have been strongly influenced by the melodic, sophisticated Japanese "city pop" music of the '70s and '80s, as exemplified by such revered names as Tatsuro Yamashita, Yumi Arai, and Tin Pan Alley. These musicians also draw inspiration from the "shibuya style" pop of the '90s, including artists like Pizzicato Five and Cornelius. But whereas these earlier artists were living in boom times and recording in luxurious studios financed by major record companies, these young artists have been born into a glum economic era with a decimated recording industry. Nevertheless, through the magic of sheer willpower and surprisingly assured musical and self-production skills, they make joyous, lighthearted, and refreshingly refined pop music. With strong melodies and inspired arrangements, this fresh new wave of city pop is perfect summer music, all year round. Remastered to EM Records' exacting standards, this collection showcases a promising generation of pure pop music in Japan. Includes 20-page booklet with liner notes by Ryohei Matsunaga, lyrics, artist bios, and English translations. Includes tracks by Hesonosuke, Miho Tsujibayashi, Shin Rizumu featuring Sodapop, rizumu & ikkubaru, and Sodapop (including a track featuring Yuriko Ohno). CD also includes a track by Umanosora and an extra track by Hesonosuke. LP (EM 1137LP) also includes a track by Like This Parade.
Official reissue of a scorching Caribbean disco lovers-rock version of the classic anthem by Change and Luther Vandross, originally released in 1980 on Black Jack. The great Dave Baker aka Dave Barker was a member of The Techniques and the duo Dave & Ansel Collins. This reissue of this very rare record is coordinated by French DJ and collector Waxist (aka Julien Minarro), following his 2015 reissue of Lamar Thomas's Feel So Good Inside (FVR 099EP). Includes the original 12" version, remastered from the master tape, as well as an exclusive extended dub version finely edited by Waxist. Essential!
Evaporate is the first issue from Rabit's highly promising Halcyon Veil label, and also the exceptional solo debut from 21 year old s.w. Londoner, Myth. Infectiously emotive and nimbly weightless, it rotates seven slick grime and 2-step instrumentals including the instantly recognisable version of his and Rabit's flip of Ciara's "Backseat Love," which is currently still under heavy rotation from Rinse FM. Its seven tracks were salvaged from a series of cheap, dying computers over the last two years and could be considered perfectly symptomatic of where grime is at right now - still succinctly FWD, but steeped in nostalgia for its formative era; which is perhaps understandable as he's been writing beats since he was 10-13 after hearing grime on mobile phones at school circa 2000's. It's all as sharp cut, raw and moody as anything from Zomby or Visionist, but with a unique, salty streak of emotion running thru its skeletal structures, at its most potent in the majestic "Lonely" or the iridescent 2-step twinkle of "Phoenix," whilst the tensile tendons of "Evaporate," or the Apple-style Funky drums of "Seven" grip the 'floor properly.
Prefigured by the inclusion of a secret extra pocket in the original packaging of Far West (IMPREC 386CD/LP, 2013), this painstakingly crafted complimentary LP is intended for synced playback with that release. With two turntables or other playback devices, the listener can experience fully unique quad playback. Further West Quad Cult LP offers deeper journeys into the cave where the self dissolves. It also stands alone as an inverted Far West universe, and the listener is invited to enjoy it by itself as well. Liquid synth journeys into the void. All tracks dubbed and manipulated from Far West source material. All music by Master Musicians of Bukkake. Additional sound design and synths by Randall Dunn and Timm Mason. Produced, recorded, and mixed by Randall Dunn at Avast!, Seattle, WA. Includes fold-out poster by photographer Alison Scarpulla.
Mutei - Music for Davida Monk's Dream Pavilion
Since the mid-'90s, Seattle-based guitarist Bill Horist has been making music within and without convention in a wide variety of settings and genres and has worked with many notables in rock, experimental, and new music. He has played on dozens of records and has performed throughout North and Central America, Europe, and Japan, collaborating with numerous leading lights in a beguiling range of genres. He delivers an idiosyncratic and richly emotive take on the world's most ubiquitous instrument; perhaps best known for his prepared guitar treatments, his work is widely regarded alongside masters like Fred Frith and Keith Rowe. He has cultivated a unique voice in a number of styles in the realms of jazz, rock, folk, and experimental music. Horist is also becoming known as a masterful acoustic fingerstyle player in the tradition of Leo Kottke and John Fahey, additionally incorporating elements from Asia, India, the Middle East, and West Africa. Mutei presents music composed and improvised by Horist for Calgary, Alberta-based choreographer Davida Monk's 2013 major dance work, Dream Pavilion. This is the second major work that Horist and Monk have created since their initial production, Lyric, and the resulting CD, Lyric/Suite (Accretions Records), were developed and released in 2003. Their longstanding collaboration has cultivated a highly integrated lexicon of sound and movement. Inspired by diminutive, carved Japanese statues called netsuke, Horist and Monk strive to bring this exquisite manifestation of humans, animals, fantastic creatures, and deities to life. With the basis of a prepared guitar score developed in-residence and augmented by percussion and đàn nguyệt (Vietnamese moon lute), Horist has created a mysterious and emotive sonic world, which two dancers embody. Despite the score being composed for live performance, Horist recorded a version with Scott Colburn and further augmented the work with conventional guitar, bass, and other electronics, thus creating a work that stands beautifully and strangely on its own in addition to being a powerful component of the choreographed work. Tracks on Mutei vary wildly from dark drone to plaintive and playful; from meditative ambience to squalls of visceral noise. Bill Horist: electric guitars, đàn nguyệt, bass, percussion, objects, electronics; Davida Monk: choreography; Helen Husak: dancer; Walter Kubanek: dancer.
Currently out of print on CD, Michael Yonkers's Grimwood finally receives its long-overdue vinyl re-release (with download code included). Yonkers's first four LPs were released simultaneously in 1973, but it is Grimwood, his first, that regular commands the biggest bucks on the collector-scum market. Recorded in 1969, less than a couple years after the material eventually released as Microminiature Love, Grimwood sounds like it emanates from another universe entirely. Straightforward on the one hand, yet fascinatingly and psychedelically abstruse on the other, Grimwood remains an essential "outsider" document that sits comfortably (and irreplaceably) alongside Spence, Grudzien, Tweddle, and a few select others. "It would seem that Yonkers followed a trail that psychologically parallels the sun life highway, and his private flight took place in a presumably small hut, nestled on a lemonade lake, and from his chimney wafted rainbow smoke, in the fantastical haven of the mystical, mythical grimwood town for which the rec is named, as he attempted to allow light / space into areas of his psyche that hadn't seen enough of either in some time." --Karl Ikola, liner notes to 2007 CD reissue
Sonically, Bryn Jones's work as Muslimgauze often pulled in two directions at the same time. The one, towards what fans of Can might call an "ethnographic" kind of practice, especially with his use of vocal samples and percussion instruments from the Middle East and other regions of the world Jones was so interested in (obsessed by?). The other is toward, for lack of more polite phrasing, harshly fucked-up digital noise and beats. Many interesting Muslimgauze releases tend more toward that ethnographic side or find a middle ground between the two impulses, but few of his records slide so much towards the other end of the spectrum as does 1996's Uzbekistani Bizzare and Souk. Aside from the vocal loop/Amen break duet of "Rouge Amin Fraction," the songs here found Jones focusing much more on the electronic music elements always present in his work as Muslimgauze, ranging from the watery, dubby tones that show up on "The Iranian Who Found Allah" and parts of the suite-like "Paper Gulag" through the harsh trebles of "Cafkir Ma Higra" (which bring to mind Aphex Twin's "Ventolin") to the dense digital-sleet-storm of closer "Leboneeze." Elsewhere, tracks like "Cafkir Wa Hig" and "Harijana" serve as master classes in Jones's expertise at twisting his beats and patterns until they practically shred (both themselves and, if you're not careful, the speakers). Uzbekistani Bizzare and Souk was originally issued by Staalplaat on DAT in 1996, and was reissued on CD by Important Records in 2002; this is its first vinyl release. A tough, rigorous set of some of Jones's most beat-focused work as Muslimgauze. Limited edition of 500.
Full-length original audio piece on 24-bit/48kHz digital USB flat memory-card with non-audio blank etched vinyl. Edition of 500 copies numbered and signed by Francisco López. La Selva is an immersion into the sound environments of a tropical rain forest in the Caribbean lowlands of Costa Rica. An astonishing natural sonic web created by a multitude of sounds from rain, waterfalls, insects, frogs, birds, mammals, and even plants, through a day cycle during the rainy season. A powerful acousmatic broadband sound environment of thrilling complexity. And above all, a tour de force of profound listening. Original recordings done at La Selva Biological Station during the rainy seasons of 1995 and 1996. La Selva was premiered in an acousmatic performance at Teatro Fanal of the Fanal Contemporary Art Center in San José, Costa Rica, in August 1997. Originally released as a CD by V2_Archief in 1998. "After two years of failed attempts with multiple test pressings from the best plants and cutting engineers in Europe, the inherent constraints of vinyl led to an unavoidable conclusion: this audio piece cannot be released on vinyl... many of the naturally intense sections of 'La Selva' with insect and amphibian calls were rendered awfully distorted, with filtering solving virtually nothing at the expense of dramatic dullness... That is why this 'natural' sound piece has been finally reissued digitally, in its entirety, and with the best possible sound." --López
Kosmic Music from the Black Country
Never-before-released recordings of mythic Belgian kosmische band Kosmose (1973-'78). Kosmose can be approached as a collective without a specific leader. The line-up fluctuated quite a lot around a rock-solid core formed by Alain Neffe and Francis Pourcel. As this release demonstrates, their sound evolved from something deeply influenced by kosmische music to a purely improvised form of noisy free jazz. The whole adventure took place in the heart of the '70s, almost under wraps, though most rehearsals were taped by Neffe. RIYL Hawkwind, Can, Musica Elettronica Viva.
Bali 1928, Vol. III: Lotring and the Sources of Gamelan Tradition
Vol. III of World Arbiter's complete 1928 Balinese recordings, the first republication since 1928 of lost shellac recordings, opens with the only known recordings of a lost gamelan. Heard in three tracks, Gamelan Semar Pagulingan, an ensemble known as "Love in the Bedroom Chamber," played instruments that no longer exist, and performed whenever requested by a Rajah who relaxed nearby with his wife. The major artist in this CD is I Wayan Lotring, a composer who was tormented at night by sounds that emerged into fully structured compositions that he taught orally to musicians in his gamelan, and shadow puppet ensembles. An extensive text by Edward Herbst is included as a PDF on the CD (accessible by computer) and hosted online by World Arbiter. Some of these recordings come from discs that existed in only one known copy, and now their erotic, subtle, incendiary styles are available for everyone to experience. Also includes performances by Gamelan Palégongan of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Banjar Tegal, Kuta; Gamelan Gendér Wayang of Kaliungu; Gamelan Palégongan of Kelandis; Gamelan Gambang; Gamelan Gambang of Pura Kawitan Kelaci, Banjar Sebudi; and Gamelan Pajogédan (Gandrung) of Pagan.
With the launch of his White Material label in New York 2012, DJ Richard began releasing a line of stunning works by Galcher Lustwerk, Young Male, Morgan Louis, and himself. Around the time of DJ Richard's collaboration with Carsten Jost for Lawrence's 2013 Films & Windows Remixed 12" (DIAL 065EP), the Dial Records crew fell deeply in love with his work. After his contribution to Dial's 2015 15-year anniversary compilation All (DIAL 032CD) and almost two years of production, here is DJ Richard's debut album, Grind. A tribute to what contemporary club music and enthusiastic sound experiments should be about: exaltation and addiction. This is what DJ Richard's club sets feel like -- an incredible sound seduction, another dimension. Grind might be the essence of it all.
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.
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.
Mississippi Blues 1927-1941 LP
Bali 1928, Vol. III: Lotring and the Sources of Gamelan Tradition CD
Light Wave: Today & Tomorrow CD
Uzbekistani Bizzare and Souk 2LP
Charles Mingus Presents Charles Mingus LP
Everybody's a Fuckin Expert CD
The Early Years 1927-1933 LP
The Baby Huey Story: The Living Legend LP
Further West Quad Cult LP LP
Live in Chicago - 1984 CD
1D Electronics 2012-2014 CD
Teenage Werewolf... Live CD
Cabbalism I. & II./Cabbalism III. 3CD
Imaginary Choreography CD
John Howard & The Night Mail CD
Mutei - Music for Davida Monk's Dream Pavilion CD
Diaphra's Blackbook of the Beats CD
Spies Are Watching Me/Le Disco des Capitales 12"
The Flowers of Romance CD
Kosmic Music from the Black Country 2CD
Live at the Hollywood Bowl 1979 CD
Black Solidarity Presents Mr Babylon CD
When the Rainbow Disappears: An Anthology 1965-68 2LP
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