Citron is a complete remix of the Czech heavy metal band Citron's 1990 release Vypusťte psy!, or Release the Dogs. While spending an extended period in the Ostrava studio of Citron's leader Radim Pařízek, FAT found itself with access to the original 24-track tapes of Citron's then-most-recent album. Working at night, FAT discreetly remixed the entire album to create Citron. Citron is a far cry from the original record's heavy metal sound, as FAT creates a bohemian fairy-tale-on-acid from the bones of a late Communist-era Czech mega-album. The mix turns the original record inside-out and often lays bare the typical lead vocals or instrumentation, bringing the more banal elements to the forefront. Background synth fills become lead instruments with midi time code serving as a rhythm track in a reconfigured cavernous arena-reverb setting. Remixed in the studio where the original album was recorded, the reprocessed sound was achieved entirely with the period equipment from a 1992 Czech studio.
First vinyl reissue of Alarm by the Peter Brötzmann Group, originally released on FMP in 1983. Harry Miller: bass; Louis Moholo: drums; Alexander von Schlippenbach: piano; Peter Brötzmann: saxophone; Frank Wright: saxophone; Willem Breuker: saxophone; Toshinori Kondo: trumpet; Alan Tomlinson: trombone; Hannes Bauer: trombone. Recorded during the 164th NDR Jazzworkshop, November 12, 1981, at the Funkhaus Hamburg. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann.
5 Viajes / 5 Journeys
LP version. Winners of the Best Jazz and Improvisational Music Award at Spain's 2014 Premios Martín Códax da Música, Sumrrá are pianist Manuel Gutierrez, bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido. The most exciting trio on the Spanish jazz scene today, their performances express assured conviction and a sound filled with dynamism, lyricism, and humor. Coming together informally at first in the summer of 2000, these three superb musicians have built a solid understanding of each other's voices. That instinct combines with superb technique to inform their music with a freedom of improvisational invention. Sumrrá have had a consistent trajectory in the music scene in Spain. In addition to their many concerts throughout the Iberian Peninsula, Sumrrá have also performed to great applause internationally during tours in France, Bolivia, Bulgaria, and South Africa. In September 2015 they performed at the famed Tanjazz festival in Morocco. These musicians share a passion for improvisation and open musical form. As bassist Xacobe Martinez Antelo puts it, "The truth is that we do not take any model... Our way of working is about compositions... and that marks the development of the trio, our roles, and our sound." 5 Viajes / 5 Journeys is Sumrrá's fifth album.
LP version with insert. How can we explain the power of music? How can songs delivered in a language that we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers and one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact, she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late '70s and early '80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, and carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and, of course, Dao-udon's thrilling voice.
Lam Phaen Motorsai Tham Saep: The Best of Lam Phaen Sister No. 1
The best of Khwanta Fasawang, the number-one soulful sister of 1980s lam phaen, queen of the cassette era. She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new streetwise dance music. The lam phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative. Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format lam phaen boom of the early '80s, gaining great popularity in both her native Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican dancehall, and this music can be heard as one of the roots of lam sin, the Thai bass music that began in the '80s and '90s, but these recordings are not mere musicology. This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied. Selection, liner notes, and cover art by Soi 48. Includes 20-page booklet with English liner notes and lyrics.
LP version. "Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly 'nihilistic' and 'raw' current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, Ilsa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of the classic band, and only one title ('Crown of Thorns' from January 17, 1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin... If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits." --Weasel Walter, Brooklyn, NY, June 30, 2015
Yessmissolga presents the CD release of the long-fabled duo collaboration by Steven Stapleton and Christoph Heemann. This historic live performance took place on November 21, 2009, at the ancient Ivrea Synagogue in Ivrea, Italy. After working together for many years on various Current 93, Nurse with Wound, and H.N.A.S. sessions, these two old friends met for a rare moment of performance completely independent of thematic material and engaged in a near-telepathic, mysterious one-to-one improvisation, where textural worlds merge, hot, on the spot. While one may discover an intriguing intersection between each of their respective solo works, the real magic of this duo encounter evokes something strangely unfamiliar and altogether new. With this generous edit of the highly acclaimed concert, Painting with Priests exhibits a rare session of both artists' eccentric talents in a palette of colors and mystery across a highly detailed musical canvas. Front cover features new artwork by Stapleton, with back cover featuring a previously unpublished drawing by Heemann. Packaged in a full-color Japanese-style gatefold mini-jacket featuring a totally different Stapleton front cover and alternate mix from the LP version released on Robot Records/Elica Editions (ROBOT 044LP).
Tarotplane is the solo project of Baltimore-based musician PJ Dorsey. First, his full-length debut, is a tremendous album etched on the great krautrock and experimental psychedelic records from the '70s. Vintage electronic sounds are mixed with effected guitar parts. It might sound quite familiar at first, but once one enters the heart of the album it all gets spectacularly exhilarating and effortlessly captivating, swirling around the listener. Records such as Franco Battiato's Pollution, Bill Holt's Dreamies, Popol Vuh's Affenstunde, and Deuter's D were strong influences. All of these artists use tape loops, environmental sounds, filtering, and other effect processing in an exceptional way. Their desire to create their own distinct sonic world was the driving influence behind this LP. These artists never let the experimentation get in the way of creating something musical, beautiful, and sonorous. First integrates those influences but it also has a more traditional psychedelic rock sound built into its sonic viewpoint. Dorsey seamlessly blends these diverse influences into a continuous flow. The album was originally going to be called Excursions, because Dorsey would walk for hours on Baltimore's waterfront listening to fragments of his work, as well as samples from films and records, to find a balance that worked. The ultimate goal was to make what some would call a head record. Something you can listen to on your own personal excursions that evokes a distinctive and enjoyable sonic headspace.
Terre Thaemlitz's Comatonse Recordings presents a cut from English polymath Simon Fisher Turner's 2013 soundtrack to the 1924 film The Epic of Everest. Turner's windswept, quietly pulsating "Shishapangma" is another iterations of a long and colorful oeuvre that has seen him work with an early incarnation of The The, Derek Jarman, and the Portsmouth Sinfonia, not to mention a career in acting that made him a teenage star in the '70s. DJ Sprinkles's gently sub-fueled "Deeperama" mix teases the original's horns to sound something like Peter Zummo doing 11 minutes of the deepest house -- both fathoms-deep and endlessly inspiring.
A tight, atmospheric, and pretty damn funky soundtrack composed by the maestro Ennio Morricone for the 1970 crime-drama Città violenta (released in the USA as The Family in 1973), starring the mighty Charles Bronson and directed by Sergio Sollima. Another hard-hitting score by Morricone with quite a dark mood, flowing from the dramatic to psychedelic along with a touch of funkiness. The famous "Città violenta" track, the score's main theme, is celebrated as one of Morricone's most iconic themes. This is the first vinyl release of the complete edition. Green vinyl. Limited edition of 1000.
Repressed. The dark interpreter Stephen O'Malley ov Sunn O))) presents his towering orchestral composition Gruidés, commissioned by French 35-piece improv orchestra ONCEIM -- l'Orchestre de Nouvelles Créations, Expérimentations et Improvisation Musicales -- and released thru Demdike Stare's DDS label. In early 2014 O'Malley was approached by pianist and composer Frédéric Blondy to write a work for the orchestra, which is made up of exceptional musicians from the fields of contemporary, jazz, experimental, improvisation, and classical. Understandably intimidated by the prospect, but encouraged to "just be punk rock about it," the preternaturally gifted composer has conceived a technically demanding -- for the players, at least -- and richly rewarding long-form drone piece intently focused on harmonic experimentation and overtone study. During its 35-minute lifespan, Gruidés requires the musicians to sustain pitches for several minutes (which is difficult enough for strings, and a real feat of endurance for woodwind), yielding spectra of eliding dissonance rent in sliding tone clusters and lucent geometries punctuated by a similar whipcrack percussion to that used in Sunn O)))'s 2014 collaboration with Scott Walker. It makes great use of the acoustic qualities of Saint Merry church in central Paris, as captured in the recording of IRCAM's Augustin Muller and mastered by Matt Colton with a detached spaciousness evocatively distilled in Jean-Luc Verna's cover art. It's an incredibly immersive piece that comes highly recommended if you're into the work of Phill Niblock, Alvin Lucier, Ellen Fullman, Harley Gaber, and, indeed, Sunn O))).
2015 ten-year anniversary reissue of Lindstrøm & Prins Thomas's genre-defining 2005 debut album. Three 180-gram LPs in special-edition gatefold sleeve with download code and bonus 7" of previously unreleased material (including a 2015 edit of "Feel AM" by Prins Thomas). The Norwegian duo of Hans-Peter Lindstrøm and Thomas M. Hermansen aka Prins Thomas joined forces in 2003, after mutual admiration for each other's productions -- Lindstrøm as muso-wizard and Prins Thomas as the nu-skool remix-champ. They share a background in band projects -- ranging from punk and gospel through country and heavy metal to folk and psychedelia -- and they also share a passion for collecting records. Besides running their respective labels (Lindstrøm's Feedelity and Prins Thomas's Full Pupp) and working on various solo projects, their main priority is their joint venture into the ever-expanding outer limits of futuristic disko and universal boogie. Featuring Italo, funk, and disco-influenced productions alongside the production genius that defined those lost halcyon releases of the post-disco/punk era circa '78-'84, Lindstrøm & Prins Thomas provide lush basslines, sublime melodies, and rolling rhythms that cascade like snowflakes being hit by harsh early-morning sunlight -- icy, but with a heart bursting with pure emotion. Throughout one can find the experimental energy of the continental space-disco of the '80s, which the pair still adore -- melodic, synth-heavy, and Moroder-esque, with arpeggiated basslines set to proto-house 4/4 grooves. Wrap yourself in the basslines and melodies of Lindstrøm & Prins Thomas's sublime Norse code.
"First Voyage (DJ Sotofett's Extended Mix)" is a bumping, carnivalesque, cosmic excursion, warmly analog and swinging, featuring the return of DJ Sotofett to Honest Jon's; then "Sleepy Bay," a kind of breather; and finally "Tippu Tip's Ghost," 15 rounds of ecstatic, ruthless, spangled minimalism, looking straight into the eyeballs of Tippu Tip, and back out. "Garland yourself in all the green there is -- ivy green, new grape green, green of bottles, green of the honeyed muse, green undaunted by reason or delirium, green of jealous joy, green of the secret holy violence of the thyrsos, green of the sacred iridescence of the dance..."
2015 repress; originally released in 2005. Honest Jon's presents the second of two compilations (Lagos Chop Up (HJR 015LP) being the first) focusing on music from the Nigerian city of Lagos circa the 1960s, 1970s, and 1980s (considered to be the golden age of African popular music). With many African nations fighting for (or gaining) independence, locally produced modern music was seen as a powerful expression of new national identity. Bands either modernized folk, classical, or traditional African genres, or Africanized foreign genres such as R&B and funk. From West Africa came '60s highlife, which then influenced Fela Kuti's Afro-funk of the '70s, while from the traditional Yoruba religion came juju, fuji, waka, and apala tracks, all of which are included here. Includes tracks by Chief Commander Ebenezer Obey & His Inter-Reformers Band, Sir Victor Uwaifo, Travellers Lodge Atomic 8, Sagbeni Aragbada, Super Negro Bantous, Cardinal Rex Jim Lawson, Ambali Adedeji, Chief Umobaurie and His Group, Mike Ejeagha, Kollington Ayinla, The Harbours Band, Haruna Ishola, Dr Victor Olaiya, and Sir Patrick Idahosa.
Double LP version. Since the release of his first EP, Tips, on Luciano's Cadenza label in 2007, producer and DJ Petre Inspirescu has emerged as one of the key figures of the Romanian electronic music scene, with releases on Vinylclub, Lick My Deck, Amphia, and [a:rpia:r], which he launched with his buddies Rhadoo and Raresh in 2007 as platform for them and other producers from Romania and elsewhere to release detailed, grooving house and techno with delicate structures and one-of-a-kind grooves. Both of his more dancefloor-oriented solo albums, Intr-o Seara Organica... (2009) and Grădina Onirică (2012), are enlarged with melodies, sounds, and harmonies that go beyond the usual characteristics of a dance album. His love for classical composers like Mily Balakirev, Alexander Borodin, and Nikolai Rimsky-Korsakov can be felt in his album Pădurea de Aur (Opus 2 in Re Major) (2011), released under his πEnsemble alias on the Romanian Yojik ConCon label and intended to unite classical spheres with analog electronic music production. In February 2013 he released his highly acclaimed fabric mix CD, containing only his own productions (FABRIC 135CD). Petre Inspirescu now follows his 2014 debut on Mule Musiq, the Talking Waters 12", with Vin Ploile. Although he's established himself as an internationally in-demand house DJ, performing regularly at all the major clubs, festivals, and party destinations around the globe, Petre Inspirescu offers no easy rhythms, melodies, or harmonies on Vin Ploile. As a musician Petre Inspirescu always tries to explore the infinite space of sound with a heartfelt human touch. To create Vin Ploile, he combined piano, string, and wind instruments with analog electronics; a deep ocean of sound forms from live improvised sessions that were edited, tweaked, and mixed to perfection, with unusual analog synth sounds fluidly grooving with subliminal bass shapes, Latin percussion, jazz rhythms, and acoustic melodies. Together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords, and ghostly modular synth pads, all subtly mixed to create space for the tones between the tones. A hypnotic after-hours album dedicated to evoking a deep listening experience, with brilliantly textured arrangements of super-charged ambient sound that goes beyond the usual definition of the genre. These suspenseful compositions seduce with a deep melodic sensibility, delivering harmonic adventures and an overall rhythmic ambience of freshness and laid-back enthusiasm. Together they represent a challenging auditory experience that will resonate in your mind long after the music has finished.
2015 repress. Twenty-one fully restored tracks from Kourosh's original master tapes presented as a deluxe 6-panel full color gatefold 3LP set. Includes a 24-page full color booklet with an extensive, first-person treatise by Kourosh himself, plus rare photos and ephemera of Iran's '70s rock scene, many never before seen. This vinyl version features 21 tracks from the 30 track double CD version. Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them."
Recorded between 2012 and 2014, Jared Blum's (GiganteSound, The Talking Book (with Bill Gould of Faith No More), Blanketship, Vulcanus 68, et al.) Vision Heat project is a laser-guided, hyper-vintage conflation of early-to-mid-'80s-centric production, montage, and style. Recalling such luminaries as Tangerine Dream, John Carpenter, Harold Faltermeyer, and Craig Safan, and such lofty houses as KPM, Bruton, and Parry, with nods to oddballs from Russia and the Eastern Bloc, Blum still manages to be forcefully yet effortlessly unique. Inspired by countless soundtrack compilations and blog mixes of rare, foreign library, and VHS music, Vision Heat varies in production style and technique as if it were the definitive archive, deftly genre-skipping from moody sci-fi suspense, incidental queues, and dramatic scores to uplifting electro-boogie, synthpop, and cinematic arrangements. Ultimately so much more than an homage, The Chosen Themes is a subtle and skilled conjuring of a full spectrum re-imagined past. Part two of a two-volume set, following Program I (RS 098LP, 2015). Includes download code.
Dub techno master Deepchord returns with his fourth album on Soma, a collection of otherworldly transmissions from his laboratory. With Ultraviolet Music, Deepchord returns to his proprietary formula of atmospheric heroin-house (after 2013's more cinematic 20 Electrostatic Soundfields (SOMA 104CD)). A hallucinogenic amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass, middle-of-the-night atmospheres, hypnotic repetitions, shortwave static, and slowly evolving textures that envelop the listener in warm blankets of sound. Equally effective on a dancefloor as it is in one's private space. Multi-dimensional sounds that move the mind and the feet. Numerous (processed) acoustic and organic sound sources make these tracks seem alive in a way that is uncommon in electronic music today. They are breathing life-forms that reveal their subtle layers with repeated listenings. It's music that's influenced equally by 1980s experimental, 1990s ambient, Detroit techno, deep house, and Berlin school, creating something entirely unique in the process. State of the art low-tech electronica.
LP version. The legendary first 12" EP by UK underground heroes Family Fodder, originally released in 1979, is now reissued for the first time. Sunday Girls (Director's Cut) is a lovingly assembled full-length album compilation featuring the complete Sunday Girls EP, the debut Family Fodder 7" Playing Golf (With My Flesh Crawling)/My Baby Takes Valium (1979), the Debbie Harrry/A 'Version' 7" from 1980, the 7" A-side "Warm" (1980), and two tracks from the rare Te Deum 12" (1979) by Alig Fodder's pre-Fodder project Frank Sumatra. Family Fodder was originally formed in 1979 by Alig Pearce, with a cast of thousands joining over the ensuing three decades. They emerged from the melting-pot of '70s/'80s London alongside This Heat, The Flying Lizards, The Pop Group, The Slits, and many others. The original formula consisted of psychedelic and new wave influences, incisive songwriting, improvisation, experimentation, and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling (now collectable) singles and albums between 1979 and 1983. Described as "entertaining idiosyncratic experimentalism with pop sensibilities," Family Fodder appear on the famous Nurse With Wound list, and were best known for indie-chart hits such as "Debbie Harry," "Playing Golf (With My Flesh Crawling)," and "Savoir Faire." More recently, Family Fodder songs have been covered by Zion Train and Unrest, and they've been hailed as "unsung heroes" in The Wire.
French band Cabaret Contemporain pay tribute to the composer Moondog -- New York's Viking -- with singing by two Scandinavian sirens, Swedish singers Linda Oláh and Isabel Sörling. The seven musicians focus on Moondog in particular in an effort to offer the public a new way to appreciate this too little-known music. Cabaret Contemporain is a Paris-based quintet who play electro music with prepared acoustic instruments (piano, electric guitar, drums, two double bassses). The band began playing in 2012, blending electronic music and classical (John Cage Project with Étienne Jaumet, Terry Riley revisited with Château Flight, The Man-Machine with Oláh), and has performed live around the world. Linda Oláh and Isabel Sörling: voice; Fabrizio Rat: piano; Giani Caserotto: guitar; Ronan Courty: double bass; Simon Drappier: double bass; Julien Loutelier: drums.
The sounds found in nature can have a very slow groove. A groove embedded by silence, so slow it can almost only be felt while spending a few hours at sea, on a forest trip, in open fields... It is this groove and the "silence" of nature that inspired the Fieldtone compositions. The music is performed by an ensemble of string instruments (kanklės, acoustic guitar, electric guitar, double bass) supplemented with drums. Book of Air's series of bundled compositions exploring the parameters of sound and time begins with Fieldtone. The title refers to "roomtone," which is the "silence" recorded at a location or space when no music is played or dialogue spoken. Every room is different, and these recordings always carry their unique character. The compositions of Fieldtone are inspired by the tempo and sonic textures of specific natural locations. By embedding this silent slowness of sound found in nature into the compositions, the details of the sounds played become much more prominent. In this way the silence itself amplifies the sounds that are played, and will also amplify the room surrounding the listener. Stijn Cools: drums and compositions; Indre Jurgeleviciuté: kanklės; Benjamin Sauzereau: electric guitar; Bert Cools: electric and acoustic guitars; Nathan Wouters: double bass.
"In the mid-1970s, Parisian composer and multi-instrumentalist Thierry Müller began operating primarily under the Ilitch moniker. Juxtaposing dark, electronic soundscapes and solo guitar improvisations, Ilitch created some of the most enduring music of the era. It comes as no surprise that Nurse With Wound included Müller on their famed list of influential avant-garde artists. Originally released on Oxygene Records in 1978, Ilitch's debut Periodikmindtrouble was a shot across the bow for the French underground scene. Comprised of instrumental four-track recordings made in Müller's dorm room, the album features gritty tape loops, analog synth swells and angst-ridden guitars. 'Sequence 4' fills the stereo field with eerie harmonium and kosmische textures, while the side-long title track is a bona fide organ soliloquy, exploring both abrasive and ambient sonorities. 'Derriere La Fenetre (Behind the Window)' dives deeper into acoustic patterns to reveal the expressive quality of Müller's singular style. Periodikmindtrouble lays the groundwork for an impressive body of work that has grown only more unsettling over the past three decades. This first-time vinyl reissue comes packaged in a gatefold jacket and is recommended for fans of Cluster, Fripp / Eno and Heldon."
"Harry Pussy emerged out of the Florida swamps in 1993. Formed by Adris Hoyos and Bill Orcutt, the duo became legendary for their volatile live shows, which often devolved into violent clashes with audience members. Obliterating the lines between hardcore, noise and free jazz, the unclassifiable Harry Pussy were at once all of these things and none of them. Originally released on Siltbreeze, their self-titled debut album reveals an antagonistic and visceral approach to music: Hoyos' self-taught, wild-style drums and shrouded screams tangling with Orcutt's high-tension blues guitar. As David Keenan writes in the liner notes, 'Harry Pussy played at such a heightened speed-of-thought climactic future- primitive peak that they outstripped technique so completely that people thought they couldn't actually play at all.' From the opening blasts of 'Youth Problem' to the spasmodic, electro-convulsive take on Kraftwerk's 'Showroom Dummies,' Harry Pussy is an absurd and devastating statement. Twenty-plus years later, rock 'n' roll's collective ears are still ringing. This long out-of-print vinyl release is recommended for fans of The Dead C, Royal Trux and Mars."
Ken Hollings is a writer based in London. He is the author of Destroy All Monsters (Marion Boyars), Welcome to Mars, and The Bright Labyrinth (the latter two available from Strange Attractor Press), and his work has appeared in numerous journals, catalogs, and anthologies. He has written and presented critically acclaimed programs for BBC Radio 3, Radio 4, and Resonance 104.4 FM. He has presented work at the Royal Institution, Tate Britain, Wellcome Institute, the Berlin Akademie der Künste, and the Venice Biennale. The three tracks that make up his Works for Magnetic Tape cassette release reflect his interest in how written text differs from spoken word. What makes them so distinct from each other -- and what happens when one is translated into the other? The text for "There Must Be Something Wrong With This, Sally" first appeared in volume 19 issue 4 of the Leonardo Electronic Almanac. This version features electronic backgrounds and interludes by Mark O. Pilkington. "Ideas Are One Thing, And What Happens Is Another" was commissioned in 2012 to celebrate the centenary of John Cage's birth. It contains personal memories of Hollings's time with Cage, its title being a line from one of his early lectures. Graham Massey of 808 State supplied the backgrounds for this reading and produced and edited the final mix. The readings for both of these tracks were recorded by Simon James of The Simonsound at the old BBC radio studios in Brighton, England. "Parasitic Infestation" was written as an introduction to The Art of Worms, documenting the cover art for The Tapeworm's first 25 cassette releases. The book was launched at a special event, "Worm Eats Bear," in 2011 at The Bear Pit in London, where this reading of his essay was recorded live. Limited edition of 100. Illustration by SavX.
Sven-Åke Johansson's unusual, famous Konzert für 12 Traktoren has been performed only a few times, by 12 tractors built in the '50s and '60s -- symphony produced by old engines. This single-sided picture disc contains a 2009 recording of this beautiful project performed by 12 tractors in Orust, Sweden. Sven-Åke Johansson (born 1943, Mariestad, Sweden) works as a composer, drummer, accordionist, poet, and visual artist. Longtime participant in the German free improv scene of '60s, with Peter Kowald, Peter Brötzmann, Alexander von Schlippenbach, and Hans Reichel. He has contributed to numerous exhibitions, publications, and recordings. Edition of 500.
Son Cubano NYC: Cuban Roots New York Spices 1972-82 2LP
American Cassette Culture: Recordings 1971-1983 8LP BOX
Africa Boogaloo: The Latinization Of West Africa 2LP
Chebran: French Boogie 1980-1985 2LP
London Is the Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London 2LP
Providence College, Rhode Island, April 26th 1975 3LP
The Chosen Themes - Program II LP
Find What You Love and Let It Kill You LP+CD
Bump Lam Phloen: Essential Hongthong Dao-udon LP
Here Comes the Crazy Man! 2CD
Here Comes the Crazy Man! LP
Soundtrack for Strangers 12"
Sommer im Pfirsichhain LP
Works For Magnetic Tape Cassette
20 Years Metroplex: 1985-2005 2CD
I Never Said It Was Nice: Orpheum Theater, Boston MA '76 2LP
Sunday Girls (Director's Cut) LP
Cowboy on the Run: Live in New York LP
Konzert für 12 Traktoren PIC. DISC
Lindstrøm & Prins Thomas (10 Year Anniversary Reissue) 3LP/7"
Shadows Out of Time '82-'83 3LP BOX/7"
Party Clowns - Live In London 1991 LP
The Early Tapes Period 3LP BOX/10"
Flowmotion Years 1980-1982 2LP
Ambiguism 1983-1987 4LP/7"/DVD
I'm A Mess: Live At The Electric Ballroom In Camden, London Aug. 17, 1978 LP
Bali 1928 - Anthology: The First Recordings CD
Donaueschinger Musiktage 2014 3CD/SACD+DVD BOX
EXPERIMENTALSTUDIO Vol. 6: 40 Years Anthology Vol. 1 CD/SACD
American Cassette Culture: Recordings 1971-1983 12LP BOX/2x7"
This Is...The Savage Young Beatles PIC. DISC
Supernature (Cerrone III) CD
Love in C Minor (Cerrone I) CD
Cerrone's Paradise (Cerrone II) CD
The Golden Touch (Cerrone IV) CD
You Are the One (Cerrone VII) CD
Find What You Love and Let It Kill You CD
Music for Guitar & Patience CD
Lam Phaen Motorsai Tham Saep: The Best of Lam Phaen Sister No. 1 CD
Live San Rafael, CA 1975 CD
San Francisco Benefit Concert LP
Until The Real Thing Comes Along LP
EXPERIMENTALSTUDIO Vol. 7: 40 Years Anthology Vol. 2 CD/SACD
, said the shotgun to the head./Utopia II CD/SACD
Live... The Bottom Live April '74 CD
We Have Come for Your Parents LP
Live At Radio Luxembourg, Paris 1973 PIC. DISC
Live At The Agorà Ballroom, Cleveland July 19, 1976 LP
I Never Said It Was Nice: Orpheum Theater, Boston MA '76 2CD
The Deep Run To Vegas PIC. DISC
Can (Inner Space) PIC. DISC
Live At The Old Mill Tavern, Mill Valley, CA - March 29, 1970 LP+CD
Live At The Winterland Ballroom In San Francisco, CA - December 1, 1973 LP+CD
Soundtracks and Singles 1963-1966 3CD
In the Mix: The Sound of the 16th Season 2CD
Introducing Scientist - The Best Dub Album in the World LP
Velvet Underground And Nico PIC. DISC
Iron Fist And The Hordes From Hell PIC. DISC
Do You Remember Rock 'n' Roll Radio? Live in '95 CD