The full recording of the first meeting between Bill Orcutt (USA) and Okkyung Lee (South Korea). Individually these players have focused on an idiosyncratic approach to their chosen instruments and technique. Okkyung is one of the most singular voices to compromise the cello's classical origin, while Orcutt has spent many years developing a unique abstraction of traditional guitar blues. Live at Cafe OTO is an uncompromising combination of these individual elements and an ecstatic improvised assault of mind and sense. Okkyung Lee: cello. Bill Orcutt: guitar.180-gram LP in matte sleeve with artwork by Bill Orcutt. Limited edition of 500.
Debut album from Copenhagen quartet, Mythic Sunship . The destination is transcendence alright, but the vehicle, ultimately, is assembled from decades of rock - where ferocious drum-pounding and thick, geezery basslines adds fuel to an endless pyre of blazed-out dual fuzz guitar action. This stuff is wild. Spiritually, the band seems connected to present day So-Cal psych-rock, but listening to Ouroboros, also reveals the band's strong ties to the Copenhagen underground scene: members of the band brushing elbows with the avant-garde noise of the record label Posh Isolation as well as the Mayhem venue. There's plenty of blissed-out riff-worshipping here, but there's also something slightly unsettling in the band's skyward travels - perhaps a longing for spiritual redemption. Maybe the road to satori isn't necessarily pretty after all. File next to: Amon Düül II, Earthless, Guru Guru, Travellin' Flower Band .
2016 repress! Featuring tracks performed in the HBO series Vinyl."Back when Thurston and I were working on our book about the New York No Wave scene, a key mystery we hoped to unravel was the one surrounding the band Jack Ruby. I knew George Scott had been in the band, along with Chris Gray, but we were never able to nail down any hard info. Lydia Lunch and Rudolph Grey both had blazing memories of their weirdness, originality and power, but no one could turn up anything solid. Time passed, the book came out and -- chuffed by the fact we'd name-checked the band in the book -- some of the participants began to emerge. Weasel Walter got his hands on a great tape of material which he released on CD (most of which is reprised here), and bits and pieces of the band's story continued to roll out. They'd actually formed in 1973 with Boris Policeband on electric viola and Randy Cohen on Serge synthesizer. The two pretty much constant members were guitarist Gray and singer Robin Hall. They'd done a demo for Epic. The original band never played live, etc., kind of crazy. Then a batch of old tapes was found in Pennsylvania. We sent them to Don Fleming who transferred and catalogued them for us, and we were totally blown away by what he was uncovering. 'Hit and Run' and 'Mayonnaise' are the original line-up recorded in a small Times Square Studio. Boris left after that and they recorded the Epic session as a trio. That's 'Bored Stiff,' 'Bad Teeth,' and 'Sleep Cure.' The other songs were recorded by the later, performing version of the band with Chris and George and another (all but anonymous) person or two. They played five live shows, featuring crawling dolls, buzzing dildos and the cracked Rocket From The Tombs sort of sound they'd evolved. The last one was in November '77 at Max's with Vivienne Dick's then-boyfriend, Stephen Barth on vocals. And the shit may be lo-fi at times, but it is genuinely fucked and a real pleasure to hear nonetheless." --Byron Coley; Includes download code with purchase.
LP version. Just as dramatically as their restless disposition morphed their sound to a binary-driven direction for their last work, now Gnod strip their electronic setup to a viscous attack, as redolent of the primal punishment of early Swans, as the angularity of prime Public Image Ltd, yet shot through with a mercurial power and fiery intensity that could come from no-one else. The opening title-cut of Mirror seethes with lithe energy and dubbed-out vitality, whilst elsewhere the eighteen-minute closing track "Sodom & Gomorrah" may be the most dystopian piece of music the band have yet created; a harrowing yet fiercely compelling colossus of bleak abjection. "The tracks were pretty much written on the road in May 2015" elaborates Gnod's Paddy Shine. Reflecting and refracting the uncertainty of a darkening era, Mirror is a work of bold reinvention and raw renewal, sculpting chaos and discord into a formidable statement of intent. Only one thing is certain - wherever Gnod choose to go next, their ire and inspiration blaze as brightly as ever.
Double LP version. 180-gram vinyl. Gatefold cover with luxurious gloss print. Includes download code. The third entry in Lucy's trio of adventurous full-lengths is visually introduced by artwork of a pearl-bearing shell, designed by Stroboscopic Artefacts resident visual artist (and Lucy's brother) Ignazio Mortellaro. This drops a subtle hint as to the nature of its contents: just as a pearl slowly forms within its enclosing body in response to organic challenges, Lucy's work is also a kind of crystallization of memory and experience into an artifact of great value. Listeners will be struck immediately by how different Self Mythology sounds from past Lucy productions, while still retaining the feel of relentless questing ("precision and exploration," in Lucy's words) that defined his two previous solo albums, Wordplay for Working Bees (2011) and Churches Schools and Guns (SA 005CD/STROBO 002LP, 2014). The album is enriched by several layers of ambience and by the wordless, improvisational (yet still somehow narrative) vocals and flute of Jon Jacobs. Without a doubt, it's an album with an initiatory atmosphere best heard in one sitting, with as little interruption as possible. However, unlike many initiatory rites, this is no arduous ordeal; great care has gone into connecting each chapter of the album with the same silver thread of entrancing storytelling. On standout pieces like "She-Wolf Night Mourning," electronic arpeggiation and persistent synthetic flutters perfectly merge with the unique tone colors of resonant acoustic percussion and pensive woodwind. Elsewhere, pieces like "A Selfless Act" reconcile technoid pulses with melancholic yet intoxicating echoes of Mediterranean musical traditions. Interestingly, many of the tracks on Self Mythology refer to old legends and well-known fairytales or to more broadly defined states of consciousness ("Samsara," which features an especially strong, sustained choral interplay between glassy synth sequences and earthy flute sonorities). This is where the album is truly unique and relevant in its ambition. The interplay between the graphic design, the vocal and flute performances of Jacobs, and the sound design chosen by Lucy aims to be an intimate audio autobiography of its creators while also referring back to the stories that have shaped human destiny for millennia. This work is a meditation upon the reciprocity between personal hopes and fears and collective dreams and nightmares; an exploration of the endless interplay between the universal and the deeply individual. It is the tale of that uncanny process by which our own conscious experience draws from the pool of archetypal information, while also contributing to it.
Mirror Travel's limited-edition UK 10" Mexico features four songs from their 2013 full-length debut of the same name. Anton Newcombe approached the Texas-based three piece about releasing their brand of swirling psych-rock on his Berlin-based label A Recordings Ltd. after catching the band's blistering set at Levitation in Austin. Recorded in the small desert town of Marfa, TX, this EP is loose, grungy garage at its finest, unhurried and hypnotic. Mirror Travel are "garage dwelling daydreamers" (Spin) who "know psych rock and aren't afraid to drench your ears in it" (Indie Shuffle).
Space In Your Mind (DJ Tennis & Edward Remixes)
Remixes of tracks from Sei A's landmark 2016 album Space In Your Mind (AUS 006LP). Gilles Aiken aka Edward (Giegling) delivers a 13-minute remix of "Ancestors," making use of a palette of tightly clipped drums, spectral vocals, and chilly synth lines for an unearthly landscape. Life and Death label founder DJ Tennis turns in two killer remixes of "Space In Your Mind," taking things in a broodier direction.
Double LP version. "Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut '55' on Brooklyn's own Big Crown Records. Long time multi instrumentalist and band leader Bjorn Wagner spent a few months in Trindad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed funk, soul, and hip hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. From the smoothed out Reggae cover of John Holt's 'Police In Helicopter' to the DJ sure shot cover of Faith Evan's 'Love Like This' BRSB's 55 is reinvigorating tunes both well known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on 'Beetham Highway Ride' and 'Port Of Spain Hustle' to the ugly face inspiring drums of 'Laventille Road March'. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly."
The pataphysical toy music of Klimperei, a collective project led since 1985 by Christophe Petchanatz, gets a lot out of many small things - dismantled toys, organs with burst pipes, squeaking detuned guitars, loose broom. Sung in English by Eric Chabert, the songs on Dealings are adaptations of poems by John B. Cornaway (1957-1994), author of Heligoland. Over Chabert's scratchy voice, still manifesting all its vigor, Klimperei unload its makeshift bric-a-brac, convoking melodica, banjo and metallophone. Child-like without infantilism, these pieces sometimes show their teeth, but the bite is never violent. Woozy cabaret cantata ("Cup of Tea"), Potluck Canterbury School ("Spoil"), punk waltz under a sad sun ("Hard"), acoustic free-blues ("Solution", "Wear On") or haywire krautrock ("Soon"). Mind dust in a stormy mouth, black candy dispenser - broken bottle et verre brisé . The glottis shaking sobs are quickly repressed. Because, yes, despite everything, life is good at Klimperei's. And the wind, Cornaway says, will never die.
LP version. After the 2004 release of his last solo album, Get Off (HAPNA 019CD), Editions Mego founder Peter Rehberg embarked on a series of soundtracks for the French artist and choreographer Gisèle Vienne. Out of this collaboration were planted the seeds for the prolific KTL, Rehberg's guitar/computer duo with Stephen O'Malley. After a surprise return to live performance in 2015, Rehberg now returns to his Pita alias with the full-length document Get In. Get In extends the perennial Pita sound into a paradox of intimidation and beauty. "20150609 I" teases the juncture between the human and the tool, the improvised and the composed, and the analog and the digital. "Aahn" inhabits a field of electronic nebula, simultaneously inviting and alien. "Line Angel" could be a new form of minimalism for the post-internet crowd. "S200729" evokes an acid most splintered while "Mfbk" completes proceedings as an ambient drift underscored with classical overtones. Get In is a beautiful, engaging, and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey. Recorded and mixed by Peter Rehberg at Twisted, Vienna, March 2015-January 2016. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, January 2016. Artwork by Tina Frank. Dedicated to Thomas Jerome Newton.
LP version. King Tubby's studio and Channel One -- two of the great Jamaican studios that produced so many of the great reggae rhythms in Kingston -- find themselves here battling for the trophy. Bunny Lee threw rhythms over to Channel One, which had enlisted the great DJ Jah Stitch to return the fire. So sit back and enjoy two great institutions of the reggae sound, battling it out for supremacy. The winner? That's for the listener to decide. But in this Dub Soundclash there is no loser.
"Big Black Coat", the title track of the celebrated Junior Boys album, has received praise for its unconventional mix of techno elements and the signature laid-back Junior Boys sound. Detroit techno legend Robert Hood was an obvious choice for a remix, but with this reworking of the track he has once again outdone himself. As much as the original is in parts a nod to him, Hood's remix in turn gives "Big Black Coat" special treatment. Rather than opting for an all-out techno banger, he carefully deconstructed the original material, rebuilding it as an essentialist industrial club anthem.
4LP version with CD. Croatia's esteemed DJ/producer Petar Dundov returns with his fifth artist album entitled At The Turn Of Equilibrium via Belgium's Music Man Records. The inspirational eight-tracker encompasses all of the inimitable production qualities of his previous albums whilst exploring a broader set of moods and themes, delivering what feels like his most accomplished work to date. The album's impassioned opener, "Then Life," commences the release by taking us on a captivating journey of complex melodies and soothing ambient textures. The album continues by showcasing a wealth of hypnotic masterpieces such as the dark and slow-burning "The Lattice," the thought-provoking "Before It All Ends" and the Kraftwerk-esque "Midnight Orchestra." Other highlights include, the Vangelis-influenced up-tempo groover "Mist," the lush ambient soundscape "New Hope," the uplifting and emotional "Missing You" and the hugely stimulating synth-driven melodic work-of-genius "Everlasting Love." Developed like a well-constructed DJ set, the album has not only been designed to invoke personal insight for music to be the catalyst for understanding but also make sense as a listening experience, highlighting Dundov's unparalleled talent, depth and versatility as a DJ/producer.
Madrid-based producer Manuel Anós returns on his own Non Series imprint following his remarkable 2015 solo debut on Tresor. This 12" features two tracks in Anós's most stripped-down aesthetic, exploring his sonic origins through loops and wires.
Olsen launches its Dansbar series, dedicated to shining light on the lost history of Norway's disco underground, with remixes by Todd Terje and Prins Thomas of Beranek's "Dra Te Hælvete," a mislaid classic originally released as a 7" on Mind Expanding Records in 1981. To mark the 2016 35th anniversary of its May 1981 release, Terje delivers the definitive 12" version of this narcotic number, capping off a trio of his own interpretations with a mind-expanding version from friend and countryman Prins Thomas.
Standalone edition of Zehn | Neun, originally included as one of ten 12"s in the 2015 Ostgut Ton | Zehn box released for the Ostgut Ton label's 2015 ten-year anniversary. Ben Klock's first solo production since 2009 uses a simple beat, pulsing sirens, a shimmering melody, and some sprinkling flute notes for a pure, hypnotic cut, shrewd and stylish. Ryan Elliott's "Smith Lake" is somewhere along the lines of micro techno/macro house. Len Faki revisits his 2007 "Rainbow Delta" with a stripped-down, intimate ambient version. A modern classic turned serene.
"J Dilla's long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla's passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla's original demo mixes as his guide, Cooley attempted to finalize Dilla's vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is an album of vocal performances recorded between in the early 2000s over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others."
Konstantin Sibold's long-awaited techno-trance-smash hit "Mutter". Already in heavy-rotation with the biggest ones in the Brobdingnag DJ league. 10 minutes and 29 seconds of rave rabies with and without beats. Dedicated to Konstantin Sibold's mother and Frankfurt's seminal techno club Omen. Sounds of yesterday made for today.
Double LP version. Skam Records presents an album of previously unheard tracks from one of its very first artists. Jega has always provided his own slant on electronic music, with warm standout melodies and his always edgy, solid beats driving it all. With 1995, he returns with a selection from the year before his seminal debut release (ska 006). Fifteen tracks recorded live to cassette tape and DAT, offering listeners a glimpse into the fledgling electronic music scene of the '90s, and a chance to hear Jega's machines working again.
Double LP version. Juan Atkins and Moritz von Oswald -- the two indispensable protagonists of the "Electric Garden" -- plug back into the wilderness. Transport brings together a set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not on the grid. The Detroit-Berlin axis triangulates to a third point that, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz that cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making. The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for 60 seconds in every minute.
Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976 on Wizard Records. This is the first time the original LP, with artwork, has been made available again. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan's earliest compositions, researching the possibilities of the voice, in two rigorous études, "Circular Song" and "Voice Piece: One-Note Internal Resonance Investigation", and the more free-form "Vocal Extensions", which uses live electronic processing. "My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts," she says. "At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service." Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. "I did commercials, which, strangely enough, led me to Steve Reich," she says. "A composer I was working with, Michael Sahl hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of "Drumming", imitating the marimba."
The Ladies of Too Slow to Disco
With The Ladies of Too Slow to Disco, the How Do You Are? label takes a look at the women who kick-started the female pop revolution in the '70s -- not only covering the big names like Carole King, Carly Simon, or Rickie Lee Jones, but also unearthing lots of overlooked and lost gems of the 1970s LA music scene. As with the two previous Too Slow to Disco compilations, the goal is to reinstate a few unjustly overlooked talents. But above all this is about the music; that vaulting ambition that pours out of these arrangements, lyrics, and melodies, all played by the finest musicians the LA scene could muster. So take a trip and round out your picture of a decade. The style is still Too Slow to Disco. But the inspiration and the achievement is all woman. These much-loved compilations are the brainchild of Berlin cratedigger DJ Supermarkt, the musical luminary who brought J-pop to discerning Western ears back in the late 1990s with his Bungalow Records label and who has been a champion for the reappraisal of smooth music for decades. The first two volumes of Too Slow to Disco were both rightly acclaimed as Best Compilation of the Year by Rough Trade, and this installment brings together another kick-ass roster of lost pop gems. Includes 16-page booklet with liner notes. Includes tracks by Evie Sands, Rickie Lee Jones, Laura Allan, Melissa Manchester, Franne Golde, Valerie Carter, Teri DeSario, Carole Bayer Sager, Carly Simon, Jaye P. Morgan, Lauren Wood, Renée Geyer, Maria Muldaur, Brenda Russell, Leah Kunkel, Amy Holland, Carole King, Doris Abrahams, and Lyn Christopher.
First vinyl reissue. Limited edition of 500 orange LPs (vinyl only; no digital release). Remastered from the original reels. The sought-after experimental gem Il Mondo Dei Romani, by soundtrack and avant-garde maestro Piero Umiliani, is now available on vinyl for the first time since its original release in 1972. Originally recorded for a TV documentary about ancient Rome and released on Umiliani's Omicron label, Il Mondo Dei Romani finds Umiliani experimenting with electronic instruments (Suoi Oscillatori or "his oscillators") to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like. It's a weird and extremely hypnotizing retro-futuristic experience of faux cithara, lyre, organ, and trumpet sounds driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to We Release Whatever The Fuck We Want Records' previous Umiliani reissue, Tra scienza e fantascienza (WRWTFWW 003LP, 2015). Born in 1926, Piero Umiliani began his career as a jazz pianist (occasionally recording with Chet Baker) and started working on film soundtracks in the late '50s. Known as the man who brought jazz to Italian cinema, he left his mark on a long series of notorious giallo and mondo movies, soft sex films, and Eurospy thrillers, garnering praise for mastering sleazy funk, experimental electronica, and jazzy themes, and making a name for himself among his peers, including Ennio Morricone or Riz Ortolani. It was with the 1968 Italian mondo film Sweden: Heaven and Hell that Umiliani landed his biggest hit, "Mah Nà Mah Nà" (originally "Viva la Sauna Svedese" ("Hooray for the Swedish Sauna")), which would later be used on Sesame Street, The Muppet Show, The Benny Hill Show, and many more.
A Quarterly Journal of Post-Rock Cultural Pluralism, edited by Byron Coley. Issue no. 5 In this issue: Ira Kaplan: SFO Super Shuttle VS Hollywood Town Car; Byron Coley & Thurston Moore: Bull Tongue column; Rej T Broth: A Field in England; Michael Hurley: The Accountant; Chris D: Alain & Romy; Alan Bishop: Another Victory for the World's Greatest Game; Leah Singer: Louis Armstrong House; Tom Givan: Best Sellers; Marie Frankland: Big Berghain; Scott Foust: The Big Bluff; Tara Young: David Bowie live at Fort Apache; Tosh Berman: David Bowie & Scott Walker Punched; Mats Gustafsson: Polly Bradfield Solo Violin Improvisations; Matt Krefting: Call Me Lucky; Todd Abramson: Candlewood Suites, Jersey City; Kendra Smith: Chirgilchi Collectible; Ariella Stok: Ornette Coleman's Funeral; Trevor Block: Compilation Albums; Samara Lubelski: Keith Connolly interview; Bruce Russel: Guy DeBord Panegyric; Barbara Manning-Vargas: Die Art Fuer Immer und Ewig; Brigid Pearson: DOOB3D; Sharon Cheslow: Dust on the Nettles; Tesco Vee: Fanzines, Bomdage, Death Threats & the FBI; Suzy Rust: Five-and-a-half Tragic Cleaning Ladies; Ray Farrell: John Fogerty; Beans McCuttone: Romain Gary The Talent Scout; Jessi Leigh Swenson: Get in the Car, You Herbs; Naomi Yang: Girls About Town; Richard Meltzer: Greater and Grander; Brian Turner: Alexander Haacke interview; Chris Stigliano: Hawkwind live Birmingham; Bree: Hermitage; Andrea Feldman: Ilitch & Ruth; Phil McMullen: In Gowan Ring The Serpent & the Dove; Dylan Nyoukis: Joe Jones Solar Music at Sierksdore; Todd Abramson: Two Paragraphs about Bob Lawton; Charles Plymell: Mirian Linna Down Today; Tony Rettman: Ross Lomas City Baby; John Sinclair: Steve Mackay; Bree: Medicaid; Joe Carducci: Alexander Medvedkin and Chris Marker; Ashley Meeks: Melancholia; Irene Dogmatic: Claire Messud The Last Life; Hisham Mayet: Musical Genres Researched in 2015; Michael Layne Heath: Night Final: a Short Story; Nick Mitchell: No Form; Georganne Deen: Lewis Nordan Wolf Whistle; Lili Dwight: November Sundays; Christina Carter: Novitate Phenom; Alex Behr: Observations on a Miscarriage; Emma Young: On Side A; Gregg Turner: Open Mike; Tom Greenwood: Open Space Preserve; Tom Lax: Pass the Ronco I Think I'm Popeil; Suzy Rust: Rags October 1970; Tom Lax: Regurgitations of a Ruminant; David Greenbereger: The Rise to Power of the Letter U; Eddie Flowers, Pamela Beach-Plymell, Georganne Deen & Ira Kaplan: Rock-a-Rama short format reviews; Orchid Spangiafora: Rocket from the Tombs live at Johnny Brenda's; Andy Schwartz: Otis Rush & Albert King; John Sinclair: Rollins/Monk More Than You Know; Emily Hubley: Room; Karen Consytance: Selbe Gehort Musik; Rej T Broth: Nina Simone at Montreux; Owen Maercks: Some Notes on the Guitar; Donna Lethal: Spell M-A-N; Joanne Robertson: Lucy Stein interview; Erika Elizabeth: The Suburban Homes; Sharon Cheslow: Eva Svankmajerova; Maria Kozic: Svengoolie; Marc Masters: Carter Thornton Mapping the Ghost; Hisham Mayet: Trinidad; Gerard Cosloy: Wendy's SF; Lisa Marie Jarlborn: What Do Women Want; Angela Jaeger: What's Your Sign?; Nigel Cross: Wilde Flowers; Bree: Writing Books of Poetry.
Ennio Morricone's legendary soundtrack for the 1968 film Il grande silenzio (The Great Silence), directed by Sergio Corbucci and starring Jean-Louis Trintignant and Klaus Kinski. This melancholic, emotive score, deeply moving and as cold as the snow-covered landscape of the film (an unusual stylistic choice for a Western), is considered one of the best Western works by Morricone since his collaborations with Sergio Leone for the classic Dollars Trilogy and Once Upon a Time in the West. First vinyl reissue. Double-colored vinyl. Limited edition of 500.
Studio Barnhus EP No. 2 12"
Drown (Makaton/South London Ordnance) 12"
His First Steps (Red & Green Vinyl) LP
Die Form ÷ Hurt (Red Vinyl) LP
Zhivago Zhivago/Disco Touch 12"
Frames From The Lake EP 12"
Sing John B Cornaway: Dealings LP
The Cat Prowls Again/A Strange Servant 7"
Marie et les naufrages (La Bande Originale du Film) LP
At The Turn Of Equilibrium 4LP+CD
Colour Planet Corporation EP 12"
Big Black Coat (Robert Hood Remix) 12"
Jukebox Fever Vol. 1 (1956) 10"/CD
Jump In line/Send Di Water 7"
Space In Your Mind (DJ Tennis & Edward Remixes) 12"
So Tonight That I Might See LP
Recourse feat. Cari Golden 12"
Instrumental Versions: Something About April Part 2 LP
Last Evenings On Earth LP+CD
Same Animal, Different Cages Vol. 1: Études For Acoustic Guitar LP
Miscellany - Lussuoso (electronics: 1990 To 2015) 3CD