Simultonality is the follow-up to Joshua Abrams's critically acclaimed 2015 album Magnetoception (MTE 063-64LP, 2015). Credited to Joshua Abrams and Natural Information Society (NIS), it is the first recording in the project's nine year, four album history made by a regularly gigging manifestation, rather than a special assembly of friends. Recorded in 2014 and 2015 in single takes by the full ensemble during and after tours of the US and Canada, Simultonality once more affirms the project's unique approach to joining traditional musics, American minimalism, and jazz with the Gnawa ceremonial instrument the guimbri. Stasis, continuity, and repetition, central qualities of Abrams language, defined Magnetoception, listed by many as one of the best records of 2015. These same qualities form the heart of Abrams's music on Simultonality. But where Abrams once said Magnetoception is about "winter and death", Simultonality, in Abrams's words, is an album of "pure motion". Without sounding frenetic it is the most explosive NIS music on record, and without sounding over-determined, it is Abrams's most structured and through-composed music yet. Much of it is also fast, a mass of densely patterned elements swiftly orbiting constantly reconfiguring centers that are variously harmonic and rhythmic, clearly stated or implied. The music is at no time any more disorderly than a colony of bees pollinating a vast garden. Its many moving parts function in mutualistic relationship toward fulfilling Abrams's long stated intention for the project: to help listener's achieve a meditative center and to consciously use music as a gateway to living. Abrams credits William Parker as an inspiration for this intention. The musicians on Simultonality date back to the nascency of NIS. Along with Hamid Drake, Mikel Avery and Frank Rosaly are Abrams first-call drummers for the project. On Simultonality, Avery is in the left channel, Rosaly the right. Astute heads may recognize the rhythm in "Sideways Fall" as Jaki Leibezeit's drum break in Can's "Vitamin C". At Abrams behest, the two drummers divided the beat into separate parts. According to Hamid Drake, the rhythm was popularized, if not originated, by John "Jabo" Starks and Clyde Stubblefield of the J.B.'s. Nearly ten years into its existence, Abrams and the NIS wear their influences with creativity and ease. Long standing NIS members, Ben Boye and Emmett Kelly, were previously together with Abrams, or not, in Bonnie Prince Billy's band, and Abrams and Boye have at different times played in Kelly's band The Cairo Gang. Harmonium player Lisa Alvarado contributes the large format pattern paintings used by NIS at concerts and for its album covers. Personnel: Joshua Abrams - guimbri, bass, small harp, bells; Lisa Alvarado - harmonium, Leslie, percussion; Michael Avery - drums and percussion; Ben Boye - chromatic electric autoharp, piano, Wurlitzer; Ari Brown - tenor saxophone (on "2128½"); Emmett Kelly - electric guitar; Frank Rosaly - drums and percussion, resonator bells. Pressed on premium quality audiophile vinyl by RTI, presented in replica audiophile dust sleeves and heavyweight Stoughton LaserDisc jackets screenprinted by Alan Sherry/Siwa. Edition of 825 copies.
Five LP box set version. "Following the reissues of Brother Ah's three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah's unique sound and musical vision. Released as a 5xLP box set, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance. The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria's Vienna State Academy, he emerged in the late '50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the '60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late '60s, his interest in non-western music developed, and his '70s and '80s recordings, incorporated elements of Eastern and 'Third World' music, fusing them with jazz structures."
Eremite present Byron And Gerald's Unity, a private press free jazz album recorded in 1969 at Howard University and the first release on Byron Morris's EPI label. It is the only hardcore free jazz record out of 1960s DC, and a viscerally powerful cultural dispatch on the sociopolitical upheavals of its time. From Byron's 2017 liner notes: "In the early spring of 1969, several months before moving to Poughkeepsie, NY, Gerald Wise and I, along with the recording engineer Len Jones, conceived of the idea to gather a group of musicians who were like-minded concerning 'The New Thing' (Sun Ra, John Coltrane, Ornette Coleman, Eric Dolphy, Booker Little). Most of the musicians we asked to be part of this experiment we knew from jam sessions or were already part of Unit Five. Eric Gravatt suggested we invite two of his musician friends from Philadelphia, Byard Lancaster and Keno Speller. I wrote a musical composition for the date dedicated to my father, 'JWM+53.' My friend Earl Snead wrote the other composition, 'Black Awareness.' Earl passed shortly after the session. The recording session took place at the studio of an experimental TV channel that leased space on the campus of Howard University. Gerry and I welcomed all the musicians and thanked them for being part of the session. The scene immediately took on a magical atmosphere, with everyone going about their tasks as if they had cue sheets. In the center of the room we laid out our instruments on two 4x8 tables. That way we could just pick up any instrument and play when the spirit hit us. I had two altos (one plastic) and a curved soprano. Jerry Wise had his trumpet and some hand rhythm instruments. Byard Lancaster had an alto sax, flute, trumpet, and some hand rhythm instruments. Vins Johnson had a tenor and a baritone sax. Keno Speller had a bell tree, tambourines, claves, drum sticks, felt-headed mallets, and a set of amplified conga drums. Inside the tables our two drummers, Eric Gravatt and Abu Sharrieff, sat face to face with two full drum kits and microphones all around them. Next to them were our two bassists, Fred Williams and a young man named Chris (whose last name, sadly, I cannot remember). To this day, I wish the proceedings had been filmed. The energy level was so high that Byard Lancaster did push-ups when not playing (I believe I remember Vins Johnson and Keno Speller also doing some). In spite of all of the excitement, everyone wanted to make a serious musical statement and cooperated in taking directions from Len Jones, Gerry, and me. It was orderly excitement, the collective 'We' caught-up in the moment. Ornette's Free Jazz (1961) and Trane's Ascension (1965) address much of what we were attempting in the studio that day in 1969. . . . In point of fact, most if not all of us had witnessed firsthand the physical excitement and, in some moments, pure terror of the urban riots set off in the spring of 1968 by the murder of Dr. Martin Luther King, Jr.. Washington, DC, exploded with anger and the looting and burning of businesses throughout the city. U.S. Army troops, along with Air Force and Navy/Marine elements, were sent in to quell these massive urban disturbances. During the recording of Unity our collective emotions were still raw, to say the least. Here and now, nearly a half of a century later, I can still smell the tear gas and the burning tires. I get chills just thinking about it. But the music got us through that time... and the music gets us through now!"
"This new duo LP, the first recorded by guitarist Tony Pasquarosa and drummer John Moloney (aka The Meatball Twins), is a masterpiece of lateral drift. Recorded as something like a tribute to the spirit of Farrell 'Little Rock' Sanders (also known as 'The Son' in the saxophonic Holy Trinity, along with Coltrane's 'The Father,' and Ayler's 'The Holy Ghost') there is no music here specifically recalling Sanders's work. But much of it seems to spring from a place that is illuminated by Sanders's artistic freedom, and his utilization of Middle Eastern symbols and motifs both inside his music and as part of his artistic statements. Tony's acoustic guitar playing makes me think of the work of India's great string master, Brij Bhushan Kabra. Raga-like twirls and filigree emerge like puffs of wet smoke, drifting away lazily in the sharp light of a winter's afternoon. And Moloney, who is best known for throwing down thunder with Sunburned, Chelsea Light Moving, Dino Jr, Caught On Tape and other Giants of Thud, matches Tony's mood effortlessly. Sweet light rhythm patterns are not something one often associates with Moloney's music, but his playing here with both percussion and wind show a very different side of his chops. At some points the overall sound recalls one of Sandy Bull's 'Blends' with Billy Higgins, but the music on My Pharaoh, My King is entirely its own trip. And it is a damn good one. Enjoy it with a meatball today!" --Byron Coley, 2017 Edition of 500.
"Run-DMC's self-titled 1984 debut pushed the doors of pop music open, showing that hip-hop was not the fad that haters had prophesized. As they proved decisively on Run-DMC, rap was a legit art form, fully capable of producing long-players full of no-fast-forward cuts. By 1985, any doubters were running on fumes, as the group's King Of Rock blew the aforementioned pop doors off their hinges. Emboldened by their success (including the first rap album to ever go Gold); energized by worldwide touring and accolades; and given all the support they could want by a genius producer (Larry Smith), an open-minded label (Profile) and a charismatic manager (Russell Simmons, who also lent a hand on production), they ruled the charts and hinted at even greater things to come. The album's most fondly-remembered single set the album's tone perfectly: 'King Of Rock' was hard, full of charisma and tag-team vocal finesse, and had enough guitars to bring the suburbs into the rap fold. The song's video was equally popular and powerful, and the pioneering MTV exposure drove the group into a new stratosphere. But there was much more to King Of Rock than the title track, including more rock / rap hybrids -- 'Can You Rock It Like This' and 'You're Blind' -- as well as the additional singles 'Jam-Master Jammin'' and 'You Talk Too Much.' (The latter, incidentally, charted as high as 'King Of Rock' on both the Pop and R&B charts). Throw in the forward-thinking reggae/rap collab 'Roots, Rap, Reggae' (featuring the legendary Yellowman) and the live-throwdown-simulation 'Darryl and Joe (Krush-Groove 3)' and the album -- which went on to pass Platinum status -- is a winner from A1 to B4."
" 'Wherein we come upon three visceralists who have been collaborating for years - innumerable instances in a roulette wheel of settings -- finally shacking up in a studio and fashioning a proper trio record. Glory be. Let's listen in-- 'These.' It's a phrase that never gets started, and an apt title for this record, which right off bolts from the barn and burns so brightly it nearly gets away from you by the time you're done twisting your head around looking for whoever it was that left the door open. 'He asked me when I planned to come back. Always, I said.' Nace's guitar mines savage depths, egging on the propulsive swing of Flaherty and Corsano. The results are as beastly as the heart itself. Swing. Bounce. Joust. Jab. Uppercut. Flutter. Wink. Sneer. They all play with anguish and ecstatic rupture -- the frustrating joy of pushing an instrument to its limits, fashioning a necessary and brutal needlepoint. They move with all the otherworldly elegance and mania of moths at a lamp show. The music asks no specific questions, but wrenches open a space for all manner of questions -- this is one of art's most vital functions! It deals in shades, no matter how sharp the apparent angle. Check out the second track on the first side: the solemn bells of Bill's guitar signal not so much a funeral, but a new dawn after a tragedy. Flaherty's saxophone sounds innocent, almost tentative at first, but as Chris' drums chime in, Paul starts to wrench the fabric loose. The track builds into a fierce and alien vista, charting a territory all its own -- a simmering judgement. It becomes hard to talk about. Didn't you ever try to eat your own tail in the midday sun? No? These three, whose veins are coursing straight through with a nuanced emotional lexicon and the smarts to harness it, have given us a record that expands potential with each listen." --Matt Krefting, Holyoke, MA 2017
Trunk Records present a reissue of Klaus Weiss's Time Signals, originally released on Selected Sound in 1978. This hectic mix of dark drums with plugged-in, way-out, funked-up studio gear has been high on library geeks' want-lists for years. Made by Niagara drummer/library overlord Klaus Weiss, and including the monster that is "Survivor", originals are super rare, going for up to $300 if you can ever get near one. Standard black vinyl comes in a varnished bronze sleeve - a replica of the original LP.
Jonny Trunk on Time Signals: "It was way back in the mid-1990s when fellow record collector and library music head Gareth Godard (AKA Cherrystones) first played me Selected Sound library LP 67, Time Signals. At the time -- and I think it's still the case -- Gareth was into Klaus Weiss. Weiss was the drummer for Munich supergroup Niagara, he could be found on library LPs we were digging up on the Conroy and Golden Ring labels, and his name would appear across early 1960s jazz LPs from Germany. His drumming sound was mechanical, peculiar, unpredictable and distinctive. But nothing he'd done that I'd heard sounded quite like Time Signals. It was more manic and experimental, and the sounds and slightly offensive rhythms burrowed into my brain almost instantly. It probably took about another three years to recover and find myself a copy, and even then I'd found the sounds completely at odds to anything else I knew about. A few years later Gareth also pointed out to me that this LP was all over Rockin' With Seka, a jet set hardcore movie from 1980 starring Swedish sensation Seka and Big John Holmes. Obviously the sound department on the film got busy with Selected Sound as another cue from the LP Nymphe (1979) is also on the soundtrack. But that is exactly what library music is for; Selected Sound produced these amazing library LPs, all beautifully recorded, sent them out in their shiny bronze sleeves around the world with rough guides to what they might be good for and waited for the royalties to roll in. Time Signals is probably the most desirable LP in the 9000 series catalogue. It sounds like nothing else and there are many high points, certainly something for everyone. And as musical tastes change and develop, Time Signals just seems to move along and fit. What seemed like otherworldly music to me two decades ago now seems like the norm. So here is Time Signals in all its odd glory, offering you a futuristic musical trip like no other."
Next up on Baum Limited Picture Edition are two Berlin based producers who don't need any introduction, youANDme and The Analog Roland Orchestra - pure quality music. Two deep dub techno cuts with deep bass and atmospheric FXs.
Mamadou Kelly transforms desert blues with modern sophistication. Mamadou Kelly's third album, Politiki brings Kelly and his group BanKaiNa together with Grammy-winning steel guitarist Cindy Cashdollar, drummer Susie Ibarra, bassist Jake Silver, and guitarist Dan Littleton, into a dynamic fusion. Backing musicians for such Malian greats as Ali Farka Toure and Afel Bocoum, Kelly and BanKaiNa push traditions into new waves of sound from the Sahara.
Cornbread Records present a reissue of Maya Angelou's Miss Calypso, originally released in 1956. At age 28, prior to her fame as a poet and author, Maya Angelou (born Marguerite Annie Johnson) was performing modern dance and singing calypso tunes in San Francisco nightclubs. Harry Belafonte had just hit the big time and made calypso a household name, and Angelou followed suit in 1956 with a record of her own, her first and only attempt to hit the big time in the music business. By 1959 she had moved to NYC and joined the Harlem Writers Guild and the rest, as they say, is history. That, however, is not to dismiss this record as merely a footnote in her history, it is in fact a fine piece of exotica, a killer LP of pop calypso that should appeal not only to fans of her writing and lovers of '50s kitsch exotica, but calypso fans in general. Reissued here on 180 gram vinyl; Includes a download code.
People Like Us is audiovisual collage artist Vicki Bennett, who has been making work available via CD, DVD and vinyl releases, radio broadcasts, performances, gallery exhibits, and online streaming for 25 years. Since 1992, she has developed an immediately recognizable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with the sharing and cross-referencing incumbent to a populist form. Abridged Too Far is the first of a series of vinyl by Discrepant to celebrate 25 years of People Like Us publishing albums. Abridged Too Far was first released in digitally in 2004 exclusively for UbuWeb, this album includes Vicki's session for John Peel and performances for WFMU, amongst others, from 2003. Packaged with brand new artwork designed by Vicki Bennett. RIYL: Porest, Ergo Phizmiz, WFMU.
Doxy present a reissue of Elmer Bernstein's soundtrack for To Kill A Mockingbird. The film, directed by Robert Mulligan, was originally released in 1962. Between 1951 and 2002, Elmer Bernstein composed over 200 scores for films and TV programs. Among the great film scores he composed from 1955 to 1965 - including 1960's The Magnificent Seven, 1963's The Great Escape (DOC 105LP), and 1956's The Ten Commandments - the one Bernstein picked as his favorite was To Kill A Mockingbird (1962). This has one of the simplest and most delicate film scores ever composed. The opening main title features a delicate waltz tempo mixed with a more expansive theme which beautifully sets the mood for this drama of innocent childhood and racial prejudice. This is a masterpiece of subtle film scoring and one of the greatest from the past sixty years.
LP version. 180-gram vinyl. Philippe Baden Powell (son of Brazilian musical legend, Baden Powell de Aquino) is reinventing Brazilian jazz in the lineage of his father's generation. Balancing the classical with the spiritual, the cinematic with the introspective, and sensitivity with a distinctly Brazilian groove, Notes Over Poetry calls upon the inspiration of the many musical and artistic greats Philippe has been surrounded by throughout his life. A nomadic upbringing - moving between Rio, Paris and the coincidently named German city of Baden - Baden, as well as touring internationally alongside his father and brother, provided boundless encounters with inspirational figures. Touring also gave Philippe his first taste of life in the spotlight: recorded when he was just thirteen, a sold-out show alongside his father and brother at Sala Cecília Meireles in Rio De Janeiro, would become the 1996 album Baden Powell & Filhos. Classically Brazilian in its roots, but global in its outlook, Notes Over Poetry sits as comfortably next to Tom Jobim's 1971 album Wave (LR 349LP) as it does to Robert Glasper's Black Radio (2011). "Vamos Donatear" - a track dedicated to the great Joao Donato - is hot, fluid samba-jazz in the vein of the Brazilian legend himself, while the equally groovy "Chica" hosts punchy horn arrangements reminiscent of masterpieces by Arthur Verocai and Eumir Deodato. With lyrics in English, the title track and the satin-soft "State Of Music" lean toward the cooler climate of North American hip hop and Rn'B, while "For You To Know" is a spellbinding syrup of deep-jazz, flaunting Philippe's talent for writing powerfully emotive melody and harmony. To his father, Philippe attributes key characteristics which have enriched and guided him in his professional life. With his father he also shares an innate pull towards collaboration as key to the creative process. Credit is indeed due to the musicians on the album: French jazz drummer André Ceccarelli, who has worked with Aretha Franklin and Michel Legrande; Belgian jazz vocalist David Linx; and Afro-Brazilian percussionist Ruca Rebordão. Parallel to a global revival of jazz as an art-form capable of traversing its once tired image, new generations of music lovers are rediscovering Brazilian music from the '60s onwards. Philippe Baden Powell's music perfectly reflects Brazil's huge contribution to the global jazz landscape, and with Notes Over Poetry, he presents a milestone release in his career as a torchbearer for a new wave of Brazilian artists.
Triggered by the 2015 edition of the Labor Sonor Festival "Translating Music" in Berlin, this split album between the Splitter Orchester and Felix Kubin offers two sides of the same coin, sometimes appearing like the rendering of an identikit picture. Taking up side A of the album, the Splitter Orchester remains faithful to its trademark technique of improvised composition. Their sound carries the spirit of artists like Jani Christou, John Cage, Franco Evangelisti, and the Gruppo di Improvvisazione Nuova Consonanza, taking it further to the 21st century and strictly avoiding any scores. Specially built and prepared instruments add to the complexity of sound layers that slowly unfold, filling both an imaginary and physical space. Starting with a short piano loop, "Diagram 1" turns into a darker drone cut by crashing glasses, giving it an almost Hörspiele-like character. "Diagram 2" is a piece about transformation and metamorphosis which starts with airy highest tones that unravel into a sort of chanting before slowly descending downwards, reaching deeper realms of rumbling which culminate in brutal noise. On side B, Felix Kubin reinterprets these tracks, creating a physically closer and blunter atmosphere, which turns the distant dreamlike atmosphere of side A into a state of awakening. His two versions present a more systematic technique, counteracting the subconscious swarm composition of the Orchester. For his take on "Diagram 1", under the title "Lückenschere", he uses a sequenced sample of the piano loop which generates different dynamics, spiraling over sequencer variations. Much rawer and with aspects of minimal music is "Lichtsplitter", a pure electronic blueprint of "Diagram 2", that involves a black and white score drawing turned into sound with an eight-channel light scanner. The Splitter Orchester, founded in 2010, is a Berlin-based collection of internationally respected composer-performers which draws inspiration from many genres, most noticeably contemporary/improvised music. Splitter Orchester originates from the "Echtzeitmusik" scene, which emerged in Berlin in the mid-1990s - a locally based and globally networked experimental music scene and long-term platform for the exchange of artistic ideas.
Geej Recordings is Jeremy Greenspan of Junior Boys and Ryan Smith of Caribou/Taraval/Jiaolong. Previously operating solely as the Canadian home for Jessy Lanza and Junior Boys, it is now prepping a number of original releases to startle and delight. First up is Tactus Tempus - a recording of two live performances of a graphic-based score from 1973 by a temporary "synth supergroup" featuring members of Caribou, Floating Points, Hot Chip, Junior Boys, and Simian Mobile Disco. Following shortly in no particular order is a conceptual LP of contemporary Canadian sound art, an EP of hardware based techno tools that hybridize the Canadian tundra and Detroit, in equal measure, and an album of modern healing gong music, recorded in one of the world's most advanced audio research laboratories. Tactus Tempus is a lost, graphic-based, experimental score by prolific composer Frank McCarty. The piece was originally conceived and performed in 1973 by McCarty's group Biome on five EMS Synthi synthesizers. By following a set of simple, yet subjective instructions the piece begins as a sparse moire pattern of bursts and tones before evolving in density and intensity as the players symbiotically interact guided only by the illustrated curve found on the score. This album features two new performances of the score featuring members of Caribou, Floating Points, Hot Chip, Junior Boys, Simian Mobile Disco, and friends. Gathering in a rare moment of collective down time in London in July 2016, spontaneously the group formed to perform the piece at Joe Goddard's basement studio. Each participant used a separate synthesizer or modular synthesizer system, and while the original slides were projected on the wall, the ensemble recorded two versions of the piece, each one recorded live in one take, lasting 15 minutes. One version is tonal, the other one of percussive timbre.
The Harbinger Sound Sampler
The Harbinger Sound Sampler features a selection of new, unreleased or very scarce tracks pulled from the label's diverse roster of artists. Among this two album set you will find exclusives from the Sleaford Mods, Consumer Electronics, Steve Ignorant's Slice Of Life amongst others. Legends such as The Urinals and Chaos UK mix with newer upstarts such as The Lowest Form, Pisse, Massicot, and Karies. The album runs through the reach of Harbinger Sound's catalog taking in abstract noise, post punk, and the plain unclassifiable. No digital. Go to a record shop! Includes new, unreleased or scarce material from bands and artists that Harbinger Sound works with in some capacity, including: Circuit Breaker, Sleaford Mods, Mark Wynn, The Urinals, John Paul, Consumer Electronics, Pain Jerk, Karies, Sudden Infant, The Lowest Form, Mark Durgan, Chaos UK, Massicot, Pisse, Future Commuter, Phil Julian, Frustration, Treriksroset, Steve Ignorant's Slice Of Life, and Toylettes.
The obscure, transfixing poetry and exquisite gothic pall of Vilains Bonshommes; a Rimbaud-inspired duo including members of Canada's Contrepoison and Norwegian BM group, Mare. Éternité Retrouvée (2011) was first released as a cassette on Norway's Fossbrenna Creations. Stripped to the bare essentials of drum machine, analog synth, and vocals rendered in acres of sepulchral space, the three-track EP draws listeners into a flawlessly realized sphere of dark influence where minimalist, desiccated harmonies and bony rhythms are embedded against unfathomably bombed out, maximalist backdrops - what most would define as unmistakably gothic.
Shelter is Alan Briand, a young Parisian producer with a strong melodic center producing a sound that pulls on the zouk, the Afro, the Balearic and the ambient palette. Zon Zon Zon is only his fifth release and his first mini-album, following the series on International Feel that delivered material from Len Leise (IFEEL 049LP, 2016), Wolf Muller & Cass. (IFEEL 054LP, 2016), and CFCF (IFEEL 051LP, 2016). International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave, who has a group of young French DJs, producers, and promoters that visit the store, hang out, and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic. The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. "Señor Zalla" starts the album with an Afro vibe, closely followed by the zouk-style of "Zon Zon Zon" and "Port-au-Coeur"'s mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. "Bucolica", an upbeat wonder of a track, turns to the ambient mantra of "Courant Rouge" and its distant cousin "Courant Bleu", a classic rhythmic Balearic piece with syncopated melody and delayed drums. "La Volière" (the French can make even "bird cage" sound beautiful) brings the album to a close with a smile in the mind's eye. Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. Expect good things from Alan. Here's the first chapter. 180 gram vinyl.
Beneath's Mistry label explores post-club dimensions with Kailin's debut album featuring eight tracks of hazy hooks, engulfing subs, and grimy thizz rent in acres of space. Beneath describes it perfectly as "uplifting whilst also being dread filled..." Much of the appeal of electronic music lies within the listener's ability to divine meaning from abstraction, often according to their own cultural conditioning. Kailin's enigmatic debut album of suggestive, dread-filled atmospheres and elusive, noise-sculpted rhythms, collected on Fracture, is essentially fueled on this notion and perfectly resonates with the aesthetics and ideals conveyed by Beneath's Mistry label. Making up the first LP release on Mistry after seven club-hinging EPs from the likes of Batu (MISTRY 005EP, 2015), Laksa (MISTRY 004EP, 2015), Chevel (MISTRY 003EP, 2014), and Webstarr (MISTRY 002EP, 2014), Kailin's Fracture occupies an introspective middle-distance between perceptions of club and ambient modes of reception by disintegrating dancefloor structures into a near-metaphysical presence with mercurial, vaporizing gestures. Like Schrödinger's cat in a bassbin, it's neither or, and possibly both at the same time, depending on your perception. This paradoxical sense of simultaneous detachment and immersion perhaps stems from the album's production; originally sketched out in a two month haze, then left to steep for much longer, before the collection's nuances and conflicting elements began to reveal themselves in remarkable formations such as the out-of-body-experience electro flex of "Circling" or the midnight quantum jazz dynamics of "Gimp", or a really big highlight in the teetering, polymetric ambient pop of "Respite". No doubt it's a fascinating and quintessential turn for Mistry, one which lives up to the label's name and its roots in the duppie dread effect of UK soundsystem culture, yet never previously revealed by Beneath's imprint in such absorbing and heady style before now. RIYL: Lee Gamble, Arca, Vangelis. Mastered by Matt Colton. Edition of 500.
When David Greenberger first embarked on what has become a life-long journey, drummer Chris Corsano was not yet five years old! In 1979, after graduating from art school in Boston, Greenberger took the job of activities director at the Duplex Nursing Home, an all-male elder care facility in Jamaica Plain, Massachusetts, and began collecting the stories, poems and music reviews of its aged patients for what became his Duplex Planet project, an undertaking that would eventually encompass nearly 200 issues of a digest-sized magazine, a series of CDs, books, comics, and performance art. Eventually the nursing home closed, but David has remained engaged in what has become the central art form of his life: the "art of conversation." Three decades later, Chris Corsano set in motion the project present here. With guitarist and banjo player Glenn Jones, a longtime friend of both Greenberger and Corsano, the three began recording in Greenberger's living room in upstate New York. In just three days, with no advance preparation, they recorded the 28 tracks that make up An Idea In Everything. Corsano improvised, Jones invented new tunings for his banjo and guitar on the fly, and Greenberger selected and read stories in direct response to the music. Everything was spontaneous and live. Despite the dark and sad feeling of some of the texts (dealing with aging, memory loss, etc.), there is also humor, joy and grit. The resulting is a rollercoaster of emotions, a glittering patchwork of sonic atmospheres and an oral encyclopedia on dozens of subjects. David Greenberger on the release: "When newcomers hear that I have regular conversations and interviews with elderly people, they assume I collect oral history. What that assumption implies is that when one grows old we become solely a repository of our past. From the start, my mission has been to offer a range of characters who are already old, so that we can get to know them as they are in the present, without celebrating or mourning the loss of who they were before." Recorded by Chris Corsano in Greenwich, NY, February 2013; Mixed by Matthew Azevedo and Glenn Jones in Jamaica Plain, MA; Mastered by Matthew Azevedo at Endless Audio, Providence, RI. Illustration by Gwénola Carrère. Co-released with David Greenberger's Pel Pel label.
Ladies and gentlemen, hold on to your hats - 'cause this ain't no lightrail. All aboard the B.T. Express for a trip through space and time with your conductor, Rohan Bell-Towers. Feel the locomotion. Let the tracks take you there. You've got to get on to get off!
Love, Peace & Poetry - Turkish Psychedelic Music
2017 repress. LP version, deluxe gatefold sleeve. This is the ninth volume in the impressive Love, Peace & Poetry compilation series, following America, Latin America, Asia, UK, Japan, Brazil, Mexico and Africa. Artists include: Selda, Özdemir Erdoğan ve Orkestras, Alpay, Mazhar ve Fuat, Erkin Koray, Ersen, Edip Akbayram, Hardal, Selda, Erol Büyükburç, Cem Karaca, Üç Hürel, Baris¸ Manço, Moğollar, Bülent Ortaçgil, Erkut Taçkun
Raster-Noton Source Book 1
The publication Source Book 1
represents the beginning of a comprehensive and authorized review of the past 20 years of the label Raster-Noton. A short introductory preface by Olaf Bender
is followed by a keynote interview conducted by Berlin publicist Max Dax
that provides an insight into the identity and philosophy of the label heads. The main part of this first Source Book
comprises the extensive catalog of all releases and series published between 1996 and 2016. Tabular listings of various formats and products that were distributed or curated by Raster-Noton complete the catalog. A further exclusive part of the publication is the accompanying Archiv 4
CD, which is only available in connection with the book. Raster-Noton's Archiv
series was first introduced in December 2003 as a supplement to The Wire magazine and has since been continued in loose sequence with different artists related to the label. Following the idea of the label which defines itself as a platform for its artists, the releases in the catalog part are not presented according to their format, invested effort or meaning, but sorted according to their catalog number and presented on exactly one double page, whereas some series were summarized. As a continuation of this archival revision, further Source Books
are planned that will document artist profiles, installations, composition techniques, and sources of inspiration. Source Book 1
's modular design allows it to remove, exchange or add pages, which makes it possible to update the content in due time. A cardboard slipcase covers the 400-page, three-kilo book and guarantees a safe stand in the bookshelf. The Source Book 1
comes in an edition of 1000.
Expectancy: Collected Library Gems From The 70's
A reputed classical violinist and music teacher on the one hand, a curious jazz cat on the other. A business man and control freak, but an artist and free spirit as well. Still, rather little is known about René Costy. Small wonder: the Belgian musician and composer was in many, if not all, respects a singular man. The lure of international show business was wasted on him and consequently, his name has remained a well-kept secret. But cream always rises to the top. Some twenty years after his passing, his work - finally - goes global. Expectancy: Collected Library Gems From The 70's is a selection out of more than 400 tracks from a virtuoso, a versatile and insatiable artist. It's hard to underestimate the importance of this compilation, which focuses on Costy's library music production from the '70s. Comes as 180 gram vinyl; Comes in a gatefold sleeve with liner notes; Includes a download code.
Uppsala Stadshotell Brinner Igen.
Uppsala Stadshotell Brinner Igen. is the second album by Rävjunk, Scandinavia's best punk-psych band from Uppsala, Sweden. This second album includes tracks from rare singles and EPs released from 1979-1980, as well as completely unknown tracks picked by Peter Ericson (drums). Shadoks Music and Ericson were working on this album for weeks, and just before the album was done, Peter sadly passed away. This album is in memory of Peter Ericson, the great Swedish drummer and singer from Rävjunk. Uppsala Stadshotell Brinner Igen. is a great selection of songs influenced by the early pre-punk period ala Stooges/MC5, as well as the longer jamming guitar tracks of German kraut and space-rock bands. They also saw the heavy psych movement as a bright star. Several influences are evident, but it's all blended into something unique, as each member brought their own intriguing ingredients into the music. Guitarist Christer Lindahl was a Hendrix freak and singer Sören G. Andersson was deeply involved in the new punk rock movement. Bassist Lars-Eric was very much into Jack Bruce and Cream, while Peter, the drummer, was an avid fan of German bands such as Can and Guru Guru. The first album, originally released in 1977 was titled Uppsala Stadshotell Brinner (SHAD 185LP, 2016), which in Swedish means, "Uppsala City Hotel Is Burning". Uppsala Stadshotell Brinner Igen. is Swedish for "Uppsala City Hotel Is Burning Again". A great album from beginning to end, just as good as the first album for sure. Comes with an eight-page booklet.
Sensing Fly-By Chances
STL on Smallville always means something special - fully functional for dancefloors worldwide but always poly-rhythmic, full of cryptic surprises and with the iconic STL twist. You'll be caught within just a beat. Full cover artwork as always by Stefan Marx.
Soave present the first vinyl reissue of Wolf Vostell's debut Dé-coll/age Musik, originally released in 1982. A seminal figure in the history of 20th century avant-garde, yet sinfully overlooked, Wolf Vostell unleashed ideas - those running wild through his debut LP Dé-coll/age Musik - which remain a slap to the face, more than half a century after they were set into play. A founding member of fluxus, an early instigator of happenings, an innovator of video art, Vostell was equally one of the most radical and irreverent practitioners in sound that the world has ever known. First released in 1982, Dé-coll/age Musik draws from material dating between the late 1950s and early '80s - the results of Vostell's application of décollage, the near perfect inversion of collage. Rather than gathered and assembled sounds, as with musique concrète, these are the result of subtractions from a former whole - the death of one, giving life to the next. Swelling from the past, Vostell's efforts pull the rug from beneath the common history of structured sound. A singular body with no loyalty, producing shocking results. A grinding confrontation - an intoxicating immersion in sound - as brutal as it is ecstatic - an exercise in joy. Dé-coll/age Musik assembles the essence of a creative spirit which is rarely known. Each work as radical and fresh today as the moment it was made. Comes in a gatefold sleeve.
Souffle Continu Records present the first vinyl reissue of Cohelmec Ensemble's Hippotigris Zebra Zebra, originally released in 1971. The Cohelmec Ensemble celebrate, above all, the pleasure of collective music-making. A group without a designated leader, they base their approach on reciprocal listening, but also on a dialogue between written and improvised material, in which all members have an equal responsibility whatever their instrument. This is even demonstrated in their name: COH as in Jean Cohen (saxophones), EL as in Dominique Elbaz (piano) and MEC as in the brothers François and Jean-Louis Méchali (respectively, amongst others, bass and drums), joined for this album by Evan Chandlee, known for his participation in Love Rejoice (1969) by Kenneth Terroade, and accepted, of course, as a full group member. Fitting together like hand in glove, the five musicians build something together, rather than trying to destroy an established order, as was the thing to do at the start of the 1970s, leaving the expression of an openly political agenda to others. In France, there was a tendency to explore an imaginary folklore which allowed certain elements of free jazz to be circumvented without being ignored. Which is why it is reminiscent of, in the melody of "Hippotigris Zebrazebra" when played with collective intensity, the best of American cosmic jazz, while also occasionally hearing McCoy Tyner or even Cecil Taylor under the fingers of Dominique Elbaz, or the vibraphone of Walt Dickerson evoked by Jean-Louis Méchali. Globally, however, their identity is original (even seminal), a fact which was to be confirmed by their next two recordings. For the record, it should be noted that the first album by the Free Jazz Workshop (from Lyon), another French group with a similar approach, would only be published two years later. Licensed from Cohelmec Ensemble. Deluxe reissue with high definition remastered audio; 12-page booklet on 200 gsm art paper. Includes liner notes and rare pictures; Gatefold LP with obi strip; Edition of 700.
2017 reissue with new artwork. Originally released in 2000. "If you're keen to track down some truly creative house music that sounds like it indeed could be the soundtrack for a parallel dimension, look no further. This is it. That said, Parrish's style of house isn't just abstract for the sake of being abstract. It's actually quite musical and brilliantly crafted." --Jason Birchmeier, AllMusic
Triple LP version. Includes download card. The tension between the natural and artificial, the body and mind, are central themes in electronic music in general, and techno in particular, as the means of creation, focused around technology and interactions with machines, contrast with the emotional response to sound, the mystical ritual of collective dancing, and the ethos of liberation and tolerance embedded in the culture it produced. We're navigating a world of engineered pleasures, big data monitoring of movements and consumption habits, and falsely objective representations of reality, further blurred by a reduced attention span and several opaque layers of cultural interpretation and political manipulation. Manichean simplifications are used to create hate and fear in order to achieve domination and impose limits on freedom, and the irrational belief in endless growth, increasingly disconnected from nature, led to massive environmental destructions and waves of unprecedented extinctions of species. Our primal sensuous perception, vastly more abstract, emotional and sensual, make us feel the world as an ambiguous realm we are part of, but not in control of; a complex network of interacting forces and enigmatic patterns, a matrix of overlapping desires. Rebuilding our bonds with nature, reconnecting with our senses, and spreading love in the process become an essential act of resistance. Hyper Opal Mantis is a triptych on three states of desire, and the first long player of Kangding Ray for Stroboscopic Artefacts. Hyper is the primal, sensual lust, Opal is the emotional catharsis, a blissful desire for love. Mantis, like the insect it refers to, is the destructive, fatal attraction. French-born, Berlin-based composer and producer David Letellier, aka Kangding Ray, uses the combination of slowly swelling melodies and emotionally charged machine sounds to gives way to a sensitive, rhythmic symphony of staggering beauty - a juxtaposition of organic and synthetic, of acoustic instrumentation and digitized beats. His darkly textured techno grooves - a palette of throbbing bass lines, necromantic synths, processed guitar loops, rattling walls of distortion and unorthodox field recordings - accounts for a brooding, futuristic entity that connects him with both experimental and club culture.
On The Nature Of Daylight - Music From The Film Arrival
The first record released on Max Richter's new label StudioRichter is a 12" vinyl edition of On The Nature Of Daylight, which is the title track from the soundtrack to Denis Villeneuve's movie Arrival (2016). "On The Nature Of Daylight" was originally featured on Max's landmark album The Blue Notebooks (2004) - its strong anti-war sentiment gels perfectly with the pro-unity theme in Arrival. On The Nature Of Daylight includes both versions of the music; the original quintet recording, and the later recording for full string orchestra. 180 gram vinyl.
3x12" version. Excerpt from the liner notes for Dreamy Harbor, by Rob Sharp: "When Tresor founder Dimitri Hegemann stumbled into a former bank vault in East Berlin on March 13th 1991, he had little idea that the space he had unlocked would fast become one of Berlin's most influential and enduring techno clubs. 'We didn't know what would happen ten months later,' he says. 'We signed a lease for a year. Which eventually got renewed for another three months, and another three months...' As Tresor celebrates its 25th anniversary with this work of artists from the US, Germany, China, France, Austria, Italy and the UK, it is worth dwelling on how the cultural conditions that birthed Detroit techno - economic neglect and broken industry - were mirrored by the disused bunkers and impromptu parties of post-unification East Berlin, where techno found new, vigorous expression. Today, though the boom and bust of globalized capitalism has filled the void that followed the Berlin Wall, and techno has become a worldwide industry, we face a new political chapter, one defined by populism, nationalism and mistrust. Contemporary creatives should take inspiration from Tresor's story, an extraordinary experiment born from improvisation, resourcefulness and social neglect that uplifted the spirits of inner city communities for a quarter-century. This record marks the spirit of those 25 years of creativity, a paean to the psychedelic music of Dimitri's youth. From the signature magnetic soundscapes of Vainqueur to the dark textures of upcoming Beijing producer Shao; from Jon Hassell's slow epicurean volutes, to the ritual auras of Marcelus and Claudia Anderson's contributions; from the dub-infused pioneering programming of Juan Atkins and Moritz von Oswald, to Mønic's enthralling cadences, it represents some of the old and new names that continually epitomize Tresor's perennial spirit of ingenuity. 'We were space pioneers,' says Dimitri... Berlin is Europe's economic engine, headquarters to global industry and sole traders alike, where Polish, Kurdish and English are as likely to be spoken as German. That range of influences is felt in all areas of life, not least in the city's music."
After making a sunny debut on Aus Music back in May 2016 (AUS 1697EP), Brooklyn based luminary Recloose readies his second 12" for the label and enlists the help of Mara TK (Electric Wire Hustle), Ezrakh, and Son Of Sound (House 2 House, Strictly Rhythm). His Spirit Knows EP adds to a catalogue of more than 20 years - one that's touched the likes of Planet E, Rush Hour, and Peacefrog and in a similar vein to Honey Rocks - his latest offering comprises three eloquent cuts of house music and carries with it a balmy sense of soul.
Sophomore album from minimalist improviser Ben Vince. Monuments comes into an age of global uncertainty, where time and truth refract and mutate, demanding a response. From an axis of improvisation, Vince's saxophone works embrace the contours of more dynamic, emotive landscapes where rich motifs coalesce and feel their way around each other. In a departure from the more rigid looping of his debut The Purge (2016), Monuments explores much more progressive minimalist structures that undulate in-and-out of phase whilst not being afraid to suddenly warp or elevate unexpectedly. With four tracks spanning almost 35 minutes of music, each one is an epic journey into glacial melodies, drones, and velvet-like pitched bass tones, which sound even more lush on heavyweight vinyl. Ben Vince is also an active DJ, performer, and improviser, in demand for solo gigs, supporting the finest experimental acts old and new, including Keiji Haino and Tomaga. He is also known to be involved in live projects with Charles Hayward (This Heat) and NTS-selector and rising-star, Coby Sey. Comes in reverse board card cover with a stamped envelope, an art print and a collectors insert; 180 gram vinyl; Includes a download code.
"Bass Duo presents the historic and only performance meeting of these two renowned and innovative bass masters, each representing distinct musical traditions; each fully committed to the summit at hand. It was recorded during the Udin&Jazz 2008 Festival in Udine, Italy. Both William Parker and Stefano Scodanibbio are composers and improvisers possessing a deep sense of musical poetry, organic inventiveness, and personal style. During his too short lifetime, Stefano Scodanibbio (b. 1956 / d. 2012) was renowned as an interpreter and collaborator with many of the major composers writing for the contrabass (Bussotti, Donatoni, Estrada, Ferneyhough, Frith, Globokar, Xenakis)."
Garrincha - Estrela Solitaria CD
Amplificador - Novissima Musica Brasileira: The Brazilian 10's Generation LP
Voicespace I, III & IV CD
Music As A Second Language CD
Chris Mann And The Use CD
In Sara, Mencken, Christ and Beethoven There Were Men and Women CD
Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine LP
Lifestylez ov da Poor & Dangerous 2LP
Baum Limited Picture Edition 004 10"
Voices Of The Ancient EP 12"
The Sounds of SE Rogie LP
The Light Years Reworks 3LP
Love, Peace & Poetry - African Psychedelic Music LP
Expectancy: Collected Library Gems From The 70's 2LP
Attack The Sound System 12"
On The Nature Of Daylight - Music From The Film Arrival 12"
Submerged Metropolitan 12"