Alessandro Cortini (Nine Inch Nails) and Japanese noise legend Masami Akita (Merzbow) share a mutual love for the EMS Synthi, a British synthesizer from the early '70s notorious for its patch matrix, portability, and distinct tone. Astonishingly, these two disparate artists meld into a single sound as they flex the analog circuitry of the EMS Synthi in new ways; giving this classic synth a modern workout and proving that, in capable hands, a 40-year-old analog synthesizer is a tool for the ages. Metallic shimmer print on heavy duty jackets; 180 gram vinyl.
RSD 2017 release. "In The Red and 2.13.61 are proud to announce this co-release for Record Store Day 2017! Pure Hell -- The 1975 Acetate. Recorded at Magnagraphics Enterprise Studio NYC 1975. These tracks are two of six that were recorded in the session. The other titles are 'Pretty Poison', 'I'm Crawling', 'Rot in the Doghouse' and 'Cosmic Love'. 'The session was cut onto three two song acetates, in the A and B side order above. This single is the audio carefully transferred from the actual acetate, the only one we have been able to find so far. I have loved this band for nearly 40 years. The chance to team up with Kenny, Larry and Mike to bring this to you is beyond exciting. Long live Pure Hell.' --Henry Rollins 'At the time we were unaware that a whole new trend to be coined 'Punk Rock' would evolve as it did. I'm amazed that this acetate resurfaced after being lost along with the other two, and that Henry, and Larry at In The Red Records would be the ones to illuminate it in the 21st century!' --Kenny Gordon"
Sounds of New Music
"The compositions on Side I of this record represent attempts at new means of musical expression. Some utilize conventional musical instruments and sounds in startlingly new ways, giving an impression of an actual 'new' sound being created; some use instruments new to music (electrical, mechanical and natural) adding to the composers' palette of timbres and tonalities. . . . SIDE II of this record is meant as a tool for those using new sounds and techniques in composing. There are basic sounds (some of which are hard to come by) and basic sound patterns, together with examples of how these sounds and patterns may be utilized." --original liner notes by Eugene Bruck
Sounds of New Music is a legendary collection of 18 compositions from the 1920s to the mid-1950s; composers include Edgard Varèse, Henry Cowell, Vladimir Ussachevsky, Otto Luening, Julius Meytuss, Alexander Mossolov, Halim El-Dabh, and John Cage, whose "Dance" is performed on a transformed Steinway piano that gives the music an almost primitive quality. Side B (The Experiments) includes works by Ussachevsky, Henry Jacobs, and Roger Marin & Frederic Ramsey, Jr. Originally released by Folkways Records in 1957.
"This is arguably the best-known recording to feature any beat-era poet. . . . Although 'Howl' is the centerpiece, the peripheral works -- especially the mantra-like 'Footnote to Howl' and 'Howl' (Part One)' -- are given empowering presentations that magnify the greatness that's inextricably inherent in both art and artist. Indeed, the genesis of Allen Ginsberg's brilliance as both poet and performer has rarely been equalled. The modern listener remains entranced by his vaudevillian sense of provocation as it couples with an unspoken, yet palpable obsession of a postmodern amphetamine-fuelled Shakespeare" --Lindsay Planer, AllMusic. Transparent red vinyl replica of the original LP, released by Fantasy Records in 1959.
RSD 2017 release. "New Zealand's Pin Group emerged out of the early '80s Christchurch scene and, with just two stunning singles and one brilliant five-song EP, have become an archetype for nearly all indie bands ever since. Ambivalence was not only The Pin Group's hypnotic debut, but also the very first release on Flying Nun. While guitarist Roy Montgomery, bassist Ross Humphries and drummer Peter Stapleton build off each other's jittery riffs, Montgomery's uncanny baritone pierces the torrential clangor. Conjuring both Wire's Chairs Missing and VU's White Light/White Heat, the band captures a truly unique sound -- evocative, yet austere. Wasting little time, The Pin Group released Coat in November 1981, merely two months after their first single. On the title track, Humphries' distant vocals call out as tense rhythms gradually push listeners over the edge. B-side track 'Jim' could easily have been recorded in Manchester circa 1979, but remains a master class in NZ post-punk atmospherics, menacing from start to finish. The Pin Group went back into the studio in January 1982 to record their third and final classic release. Featuring an expanded five-piece lineup with Mary Heney on guitar/vocals and Peter Fryer on viola, Go To Town is a work of taut perfection. Showcasing the band's dramatic chiaroscuro textures and arresting lyrics, 'Long Night' and 'When I Tell You' make staggeringly clear how much sonic ground The Pin Group covered in their unfortunately short tenure. These first-time standalone reissues, featuring Ronnie van Hout's original sleeve designs, are pressed on limited edition color vinyl. Now is the time to discover again the monochrome magnetism of this unparalleled and legendary band." First-time reissue from legendary New Zealand band; Limited edition color vinyl.
In the body of work of Cologne artist Wolfgang Voigt
- who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s - Gas
stands out in particular, a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of Gas doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a box set (KOM 370LP). The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of Gas. Which is why it will feel like hardly a day has passed since the release of the last official album Pop
nearly two decades ago in 2000, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length Narkopop
. Even in the here and now, the unmistakable vibe of Gas immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing them into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum. While earlier Gas tracks were often based on the hypnotic effects of looping techniques, the ten new pieces on Narkopop
unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, at times subtle and fragile. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of Narkopop
. In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the Gas artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of Narkopop
reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion. CD version comes as a hardcover book with a 24-page booklet.
Reaching a near-mythical status amongst fans of free jazz's most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors' grasps and confused historians for exactly 50 years. Instigated in Paris in 1967 and filmed during Don Cherry's downtime on a visit to the Chat qui Pêche nightclub in March 1967, where he played with Karl Berger, Henri Texier, and Jacques Thollot, the bulk of this cinematic portrait was filmed on the streets of Paris under the direction of creative all-rounders Jean-Noël Delamarre and Nathalie Perrey, who, as their careers bloomed, would become pivotal figures in underground French cinema - straddling La Nouvelle Vague, adult entertainment, and cinema fantastique in what can only be described as speedball cinema. As the supportive creative family that primarily played home to French vampire/horrortica director Jean Rollin, both Nathalie and Jean-Noël, his brother Jean-Philippe Delamarre and a small team of other fans of oblique media would be responsible for a vibrant micro-culture that awkwardly flourished on the outskirts on the Parisian new wave - combining comic book culture, Lettrism, sexual liberation, psychedelic rock, graphic design, and, with this record as prime example, free jazz and avant-garde music. What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Available here for the first time ever and licensed from producer and director Jean-Noël Delamarre himself.
Analog Africa present a reissue of Best Woman, Vincent Ahehehinnou's first post-Orchestre Poly-Rythmo de Cotonou album, originally released in 1978. In early 1978, Ahehehinnou left the Poly-Rythmo without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin's Black Santiago band, who agreed to arrange Vincent's songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos. With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week ... but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s. Vincent's Afrobeat credentials are in full evidence on opening track "Best Woman" (English) whose driving beat, focused horns, and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight "Maimouna Cherie" (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout, but shifts gears mid-way into a more concentrated and contemplative groove. The funk and Afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent's native Benin. Side one concludes with "Vi Deka" (Mina), an epic slow-burner propelled by some of the record's most soulful vocals, while album closer "Wa Do Verite Ton Noumi" (Fon) all but dares you not to lose yourself in its sublime hypnotic trance. Best Woman was released on Nigeria's Hasbunalau Records in 1978, and original pressings are now highly-prized collector's items. Reissued on Analog Africa's Dance Edition imprint -- newly mastered by Nick Robbins, cut by to vinyl by Frank Merritt at the Carvery, and approved by Vincent himself. 180 gram vinyl; Gatefold sleeve with liner notes and pictures; 30x60 inlay/poster.
Patterns Of Consciousness is the powerful second full-length from analog synth composer Caterina Barbieri. Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition. Patterns Of Consciousness was originated by ideally infinite permutation of patterns through a disciplined and exclusive use of machinery (an indexed quad sequencer and a harmonic oscillator). By means of subtraction, addition, and jitter operations, Barbieri derives a myriad of interlocking patterns extracted from an original matrix of just few harmonic archetypes, gradually developing the potential of the reduced constellation of pitches and durations determined in advance. Pushing the limits of her monophonic instrument, Barbieri seeks out counterpoint from a single oscillator through the exclusive use of additive synthesis, fast progressions, extreme melodic jumps, and intricate delay lines. She develops an illusory counterpoint style influenced by her passion for baroque lute music, where fast arpeggios are employed to get effects of sustained chords and overcome the limits of fast decay timbres. But the highly formulaic and germinative style of these pieces is also influenced by Indian classical music's vision of sound as an agent of change and recreation. Patterns are understood as the cells of an organism or the units of a language: a limited set of signs that can be recombined to always generate new possibilities. In POC, repetition and permutation of patterns are explored as tools to reconfigure perceptions and bend emotions, approaching sound as a medium to develop and master our own perceptual art. Emerging machine intelligence, human desire of pattern detection and the understanding of music as a cognitive feedback between humans and technology are primary sources of inspiration for this work. All the compositions share a common fatalistic tension, an impossible running, a restless rush - somewhat nervous somewhat ecstatic - to grasp a meaning out of fragments. Every piece in POC is conceived as a generative entity, a dynamic and living being able to develop its own organic laws, whose inner potential of growth and change is embedded in the initial instructions of the sequencer. Music produced by Caterina Barbieri between September 2015 and January 2016. Mixed at EMS (Elektronmusikstudion) in Stockholm. RIYL: Alessandro Cortini, Eleh.
Caterina Barbieri on Patterns Of Consciousness: "A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attention is attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential. The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound."
I Believe I'll Go Back Home (1906-1959)
"A sequel (of sorts) to the I Don't Feel At Home In this World Anymore compilation. The stone cold beautiful African guitar playing and singing of Sabelo and G. Wayawaya, the intense Native American country music of Jenks 'Tex' Carman, the great Tex Mex of Lydia Mendoza, the heavy hypnotic Cajun sounds of Amede Ardion and Dennis McGee, the shimmeringly beautiful singing and playing of the Genial Hawaiians, the deep deep deep Rembetika of Marika Papagika, the soulful gospel of Blind Willie Davis, the sacred Indian sounds of T.R. Mahalingham and Khansahib Abdul Karim Khan, the early Jewish mysticism of Max Leibowitz, the dark Cuban rumbles of Sexteto Bologna and much more. Here we have a diverse cross section of the world's music - a unifying sound during divisive times. Old school 'tip on' cover."
A mini LP of works by Denis Mpunga and Paul K., all recorded between 1980-1984. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid-eighties by obscure European labels. This release also includes a few previously unreleased songs that were found on the original master tapes. Relocating with his family from the Congo to Belgium in 1973 at the young age of 13, Denis Mpunga grew up in Liege and quickly became deeply embedded in its musical scene, forming the group Gomma Percussions in 1979; a percussive group driven by West African influences. A side project Eko-Kuango formed by the Gomma Percussion members also saw the release in 1985 of the now much sought after 12" Fura (1986), which also includes Denis Mpunga on vocals. Denis has continued to produce and compose music, perhaps most notably writing the soundtrack for the Dardenne brothers's La Promesse (1996). Patrick Stas, who would release with Denis under the "Paul K." moniker, was a well-known local musician in Liege and considered something of a luminary figure in the electronic and experimental music scene in Belgium. Patrick would set up the independent cassette and vinyl label Home Produkt. Both well-known figures in Liege's music scene, the two of them would join forces in 1980 to work together on a soundtrack for a children's animation company called CAMERA etc, recording the Intermezzo tracks which are included here. Keen to experiment further as a duo, Denis would propose the idea of combining some more traditional songs or percussive African elements with Patrick's experiments with drum computers and synthesizers. Working around more conventional instruments such as guitar and bass, Denis would also bring balafons, senzas, and a zither to their recordings whilst Patrick would work with an array of synthesizers and drum machines, such as the Roland MC 202, TB 303, and TR 808, and the Korg MS20 and Monopoly. The recordings set out to play with and challenge preconceptions and expectations of African music and African culture. Together, Denis Mpunga and Paul K.'s, if somewhat brief, musical adventure would create a fascinating new musical language: African music born out of an industrial European landscape. 180 gram vinyl.
"The Institute of Sonology in Utrecht has earned its international reputation mostly for pioneering work in the field of computer-assisted algorithmic composition and digital sound synthesis by composers such as Gottfried Michael Koenig, Werner Kaegi, Paul Berg, and Barry Truax. Anyone familiar with the music of these composers would have to admit that even within this 'genre' there were no stylistic dogmas. The stylistic range of the Institute's artistic output becomes even broader when the work of other staff and frequent guests is taken into account, for example the compositions based on field recordings and audio-visual projects by Frits Weiland, the radiophonic works and pieces for tape and instruments by Luctor Ponse, the cybernetic tape compositions by Roland Kayn, or the experiments with computer graphics by Peter Struycken, to name just a few. And then there was Jaap Vink. Jaap Vink studied engineering at first, but then became interested in electronic music. He attended courses in electroacoustics at Delft University of Technology and installed a pedagogical studio for electronic music in 1961 at the Gaudeamus Foundation . . . Jaap Vink always tried to break out of the periodicity of the sounds so abundantly available in the electronic music studio. Although his music was entirely produced with purely electronic sound material, its textures resemble the richness of orchestral sounds, or large natural sound-complexes, as a result of recursive processes. The density of this sound material increases and decreases by careful control of feedback networks with configurations of analog tape recorders (delay lines), filters, and modulators. It should come as no surprise that his work is being rediscovered at a time when a new generation of musicians has conquered the stage with modular synthesizer setups and 'no-input mixers', in which feedback of audio and control signals plays an important role. And although Jaap Vink's music wasn't performed live but produced and recorded on magnetic tape in the studio, it is exactly the human interaction with feedback processes that connects his work with the current generation of live electronic music performers. To some extent Jaap Vink's pieces are indeed recorded live improvisations, and extending his patches and 'rehearsing' with them was an ongoing process. . . . The selection presented here gives an overview of Jaap Vink's works made in Utrecht, ranging from his first composition Screen up to Tide 85." --Kees Tazelaar Works selected by: François Bonnet and Kees Tazelaar.
Samuel Rohrer, the multi-faceted, forward-thinking percussionist and producer behind the Arjunamusic Records label, the Ambiq trio, and a wealth of other musical projects, has set out on his own with a new full-length solo album, Range Of Regularity. Constructed almost entirely upon electronically-treated recordings of acoustic instrumentation, with a bare minimum of synthesizer voicing, Range Of Regularity vibrates with a compelling organic-ism, as if old-growth Black Forest trees had conspired together to make an album of ultra-modern improvisational music. Indeed, the record feels limned with contributions from some "other" intelligence, despite being a clear extension of the fluid, percussion-driven musical technique that Rohrer has exhibited in previous years. Opening with the track "Microcosmism", the sound-forest feeling immediately takes effect, and the listener can either enjoying navigating a path through this verdant total environment or just being lost in it. "Lenina" does not abandon this unique aesthetic, but reprises the story with a different vocabulary (in this case, deep synth-bass signals, piano runs and all sorts of hyper-real ventilations). "Nimbus" temporarily dials back the feeling of modular assemblage that powers the previous two pieces, and allows Rohrer's drum kit to come to the fore, working away at a determined snare-driven beat that brings a variety of treated sound ephemera out of their hiding places. After the gentle - but never too precious - interlude of "Sunclue", "War On Consciousness" emerges as the album's infectious tour de force. As the title implies, the feeling here is of using sound to fend off some sort of invasive energy, featuring a full concert's worth of timbral variations and audio events. Incisive rhythmic patterns slice away like finely honed blades at an insistent mechanical chattering, while cautiously walking acoustic bass adds an extra layer of defense. "Uncertain Grace" closes the set out with a busy multi-layered arpeggio punctuated with bass drum hits, from which a melodic narrative gradually emerges. Although similarities are apparent to other progenitors of rhythmic intelligence (classic Can, for example), Range Of Regularity stands perfectly well on its own. Artwork by Ian Anderson of The Designers Republic.
History freely dilates and collapses on Valgeir Sigurðsson's Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation. Recorded and produced between September 2015 and November 2016 at Greenhouse Studios, Dissonance is disarmingly human, reflecting the most extreme four years of Sigurðsson's life, full of ecstatic joy and deep sorrow. Dissonance is a personal and collective musical treatise to explore and question a world that is collapsing under its internal dissonances. Post-minimalist, post-ambient, post-something else.
Cinedelic Records present a reissue of Bruno Nicolai's Tempo Sospeso, originally released in 1975. Bruno Nicolai was a leading figure in the world of Italian soundtracks although he is primarily known for being the most important of Ennio Morricone's collaborators and his orchestra conductor in the period of Morricone's greatest productions in the '60s and '70s. But Nicolai's solo works are certainly not of lesser artistic relevance. Tempo Sospeso ("Suspended Time") is one of the most representative albums in the sense that it was produced by Nicolai in 1975 without any filters or restrictions, in the period of his greatest artistic maturity. The style of his thriller soundtracks of the time, such as 1971's The Night Evelyn Came Out Of The Grave, 1972's The Red Queen Kills Seven Times (RED 209LP) and Your Vice Is A Locked Room And Only I Have The Key, and 1975's Eyeball (RED 225C-LP), is evident here, as well as the vibe of the "electrified" western, thanks largely to the acid fuzz guitar of Alessandro Alessandroni. The instrumentation is varied and the maestro plays piano, harpsichord, organ, and synth. What is presented here is library music that is definitely above average. The new graphic design of this edition was created by Daniel Martin Diaz from Tucson, Arizona, known for his symbolist works that have been published in The LA Times, NY Times, Juxtapoz, High Fructose, and Low Rider Magazine, as well as four of his own art books. Inside the LP is a postcard/photo of maestro Nicolai, a portrait in front of his Moog. Comes in a solid cardboard cover.
To commemorate their ten year anniversary, Echospace present a release from the DeepChord Presents Echospace project. The set was recorded live at Ghost In The Sound on May 26, 2013, a few miles away from Hart Plaza. An official Movement after party curated by The Detroit Paranormal Society in association with Echospace, and now re-mastered by Rod Modell. From the second the bass dropped, it stole the breath from the room. This duo started off as barely more than a rumor, supported mostly by the continuous scarcity of their records. The duo comprised of Detroit's Rod Modell and Stephen Hitchell have spent nearly two decades producing low-key electronic music, both bordering on the verge of myth. They're considered by many the most noted producers operating in the dub-infused aftermath of the Basic Channel axis and all its myriad offshoots. Once their critically-acclaimed The Coldest Season emerged on one the UK based Modern Love imprint (2007), the curtain was unveiled and the sound of Echospace was born. They've often been coined the true heirs to the Basic Channel legacy but their work finds a home somewhere on the outskirts of the galaxy, where Detroit soul ties to Jamaican roots played through a tunnel in deep space. This evocative, immersive sound that is Echospace was born out of a love and passion for analog circuitry, sound design, field recordings, and non-conventional methods of recording. But it's also work that's quintessentially building upon the Detroit electronic scene where it was born, and that divine marriage of roots and vision make the work at once so highly considered, so pertinent and so timeless. This is the first new album from the Echospace duo since the critically-acclaimed Silent World (Official Motion Picture Soundtrack) 3LP/CD set dropped in 2012 (313-LP-2), it features live renditions of some of their classics as well as unreleased material. Expect gorgeous plumes of sounds deeper than the ocean floor, a rich analog tapestry made and performed in the heart of Detroit, techno city!
ESP-Disk present a reissue of Charles Manson's Sings, originally released as Lie: The Love and Terror Cult in 1970. Charles Manson visited New York City in the early '60s with his guitar and his songs in a vain search for recognition. Later, he had better luck in Beverly Hills, where famous musicians let him use their studio to produce this album. He has vocal backup from the women of the "family". During a stay in a San Francisco prison, he met a fellow inmate and gave him the album to release. While Manson was being tried and convicted of participation in his notorious murder spree, the government attempted to discredit the hippie movement by citing him as an example, hoping to stem the rising tide of anger among the population over the war in Vietnam. This album has achieved cult status among connoisseurs of '60s folk-rock. Personnel: Charles Manson - lead vocals, rhythm guitar, tympani; Bobby Beausoleil - electric guitar; Paul Watkins - French horn; Catherine Shore - violin; Dianne Lake - recorder; Steve Grogan - electric bass; Mary Brunner - flute, vocals on "People Say I'm No Good"; Nancy Pittman - vocals on "Arkansas"; Sandra Good, Catherine Share, Lynette Fromme, Nancy Pittman and Cho-Cho - backup vocals. Presented here on red vinyl.
Soul Clap presents a continuous mix for the 93rd installment of Fabric's mix series. Soul Clap carve hip hop, funk, soul, and disco into a modern house music sound. The Boston raised and NYC based DJ and production duo reach a decade of releases in 2017 and Fabric 93 takes the baton from 2016's self-titled artist album and their 2015 EP with seminal funk legend George Clinton. The spirit of house is represented with Ancient Deep, Ken Gill, and Daev Martin, the voice of Life On Planets vocalist Phil Celeste, to the Afro styles of Sol Power All-Stars and Maajo, to the classic samples of Barbara Tucker, Indian Ocean, and Storm & Herman. Also features: Scott Grooves & Ian Fink, Derren Smart, The Return, Jay Daniel, Life On Planets, David Marston, Jesse Futerman/I-Robots, Hidden Spheres, Donna McGhee, Carlos Mena, Lonely C & Tom Trago, Spaventi Dazzurro, Midnight Magic, Morgan Wiley, No Regular Play & John Camp, Harvey Sutherland & Bermuda, SuRFBiT, Taylor Bense, Martin Heimann, Moon B, Zacky Force Funk, Kutmah, Château Flight, P.J. Choir, Youandewan, Cornerbred, Willie Burns, Tom Noble, The Pool, Nu Guinea, The Hue, Jack Novin & Matt Grone, Zopelar, Conga Radio, Elikeh, Joakim, and Jimi Tenor & Tony Allen.
Voilaaa is one of the many projects led and produced by Bruno "Patchworks" Hovart, who has proven, over the past 15 years, his place amongst the finest producers of groove music in all genres. On Voilaaa's first album On Te L'avait Dit (FVR 107CD/LP, 2015), they explored the wide spectrum of the African and tropical disco scene and received massive international support. Pursuing the same direction of combining the festive, yet sometimes futile nature of disco, and the instinctive, deep, sometimes rough nature of African music, Voilaaa's presents its second full-length effort, Des Promesses. The 13 tracks of the album meet the expectations, and Voilaaa have not finished filling international dancefloors with heavy Afro-disco music. Alongside Bruno at the production are singers Pat Kalla and Sir Jean providing their carefree lyrics and Afro vibes, and Senegalese artist Doctor Lass comes to extend the team, with three brilliant titles, including a great funky cover of Salif Keita and Les Ambassadeurs Internationaux's classic, "Mandjou". Also features: Hawa, Fouley Badiaga, and Tout Le Monde.
Combining all the traits of an international superhero or intrepid comic book adventurer, the true identity, whereabouts and history of the spectacular Italian composer known as Gerardo Iacoucci has been a mystery to record collectors for many years. As a result of the best efforts of secretive archivists and DJs as well as and the overprotective force field that surrounds the clandestine world of Italian library music, the commanding experimental psychedelic pop music made single-handedly by this early pioneer of the anti-genre time after time rises to the top of collectors' want lists, commands huge ransom notes, ignites dancefloors, and decimates genre tags before returning to its mythical status as one of the kings of the underworld without removing his mask. Despite the fact that original Italian copies of records by Gerardo Iacoucci are amongst the rarest, enigmatic fixtures of European psychedelia, his music simply refuses to be ghettoized and as the name of this album suggests the history of this artist reads like the memoirs of a genuine musical adventurer as well as a well-traveled prophet of experimental music and unsung pillar of Italian jazz and sound design. Recorded in early 1970, Iacoucci's wide-eyed L'Avventura suite spanned six sides of loud, heavyweight monophonic vinyl for Romano Di Bari's Deneb label and created an epically detailed blueprint for independent mood music companies whilst sharing release schedules with like-minded workaholics Alessandro Alessandroni and A. R. Luciani. However, Gerardo's adventure didn't begin here... As a published author, recorded musician, professor, film composer, gentleman, musicologist, and scholar, Gerardo Iacoucci has managed to cram the stories of nine lifetimes into one heroic existence, while maintaining a humble, earnest and near mythical status as one of the great lost progressive pop pioneers of one of the most important transitional eras of European music, cinema and general, seldom rivaled, creative super powers. When the needle drops, L'Avventura has only just begun.
LP version. Gatefold sleeve. Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically-driven post-punk theater performers from a shared house in Leeds. To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project's ambitious and exotic credentials didn't tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you've never heard. From the same social landscape as Gang Of Four, The Mekons, and Impact Theatre Co-operative - armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Finders Keepers take the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion, and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.
Survive (Red & Black Vinyl)
Limited Red-Black vinyl only available from Forced Exposure. "The 2012 debut full-length from Austin-based electronic quartet S U R V I V E is available once again with alternate artwork. A fresh U.S. repress is in high demand for this modern classic, as the band enjoys a recent surge in notoriety on the heels of members Kyle Dixon and Michael Stein's soundtrack work on the hit Netflix series Stranger Things. Recorded from 2010-2012 at the band's own Omniverse Studios in Austin, this record chronicles the early days of the group as they developed and defined their familiar yet original style of dark soundscapes. S U R V I V E ' s debut full-length marks the culmination of countless sessions recording and crafting a remarkable balance of songwriting and experimentation. The band's signature sound is a combination of vintage and modern synthesizers, recorded live and carefully processed to draw character out of every enriched sound wave before joining the mix. Originally released in 2012 on Berlin-based Mannequin Records, S U R V I V E ' s premiere is a fusion of reserved minimalism and lucid hooks. Underlined by the band's uncompromising standards in sound design, this album maintains a damaged quality that is nuanced and cohesive across all nine emotive tracks. Ambient pieces such as 'To Light Alone I Bow' and 'Deserted Skies' are beautiful hybrids of harmony and tension that represent the record as a multifaceted work of both mood and melody. In contrast, the cold and brutally propulsive pair of singles 'Hourglass' and 'Omniverse' are strikingly addictive, making their way onto the soundtrack of the 2014 feature horror film The Guest, directed by Adam Wingard."
David Toop's first album, New And Rediscovered Musical Instruments, was released on Eno's Obscure label in 1975; since 1995 he has released six solo albums and curated five acclaimed CD compilations for Virgin Records. Toop has recorded shamanistic ceremonies in Amazonas (SR 379CD/LP, 2015), appeared on Top Of The Pops with The Flying Lizards, worked with musicians including Brian Eno, John Zorn, Prince Far I, and Jon Hassell, and collaborated with artists from many other disciplines, including theater director/actor Steven Berkoff, Japanese Butoh dancer Mitsutaka Ishii, sound poet Bob Cobbing, visual artist John Latham, filmmaker Jaeeun Choi, and author Jeff Noon. Skin Tones is a recording of a collaborative live performance by Ken Ikeda and David Toop. Recorded at Iklectik Art Lab, London on May 22nd, 2016, Skin Tones is a 27 minute piece that features steel guitar, flutes, DX synthesizer, and a variety of objects.
Clarence Ashley - Live And In Person: Greenwich Village 1963
"Clarence Ashley - Live And In Person is the first all-new album in over 50 years by the legendary singer and banjo player who helped introduce old time country music to audiences throughout the nation. Clarence Ashley (1895-1967) recorded for Columbia Records in 1929, was featured on Harry Smith's Anthology of American Folk Music in 1952, and toured the US in the 1960s. Jalopy's vinyl-only release was produced in 2016 by Peter K. Siegel, from tapes he personally recorded in 1963 at the Greenwich Village folk club Gerdes Folk City. All 14 tracks are being released for the first time on March 1, 2017. John Cohen, founding member of The New Lost City Ramblers, wrote the liner notes and provided never-before-seen photographs of Ashley in Greenwich Village. A 16-page illustrated booklet includes additional notes by Peter K. Siegel and Eli Smith. Live And In Person is Clarence Ashley's first and only live album. He is accompanied on the album by guitarist Tex Isley, a member of Charlie Monroe's Kentucky Partners."
"Minimal Wave is excited to present a 7" single of two early demos (Kindheitsmuster and Raid) by Dutch electronic music pioneer Das Ding. The final versions of these tracks were released on H.S.T.A. and the Missing Tapes, respectively. The versions here are the most raw and electric recordings we have heard by Das Ding yet. Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs. Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of H.S.T.A. and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change. The Kindheitsmuster/Raid 7" is pressed on black vinyl, featuring a photograph that Danny Bosten took during his art school days, and the inspiration for the cover drawing of the H.S.T.A. cassette release from 1982. The 7" is limited to 500 numbered copies."
Akwaba Abidjan: Afrofunk In 1970's Ivory-Coast
Akwaba Abidjan: Afrofunk In 1970's Ivory-Coast, the new Oriki Music compilation, includes serious 1970s Afro dancefloor hits - A promising favorite among DJs, Afrofunk, and tropical music revival aficionados. Vinyl diggers can finally play some of Ivory Coast's hardest to find deep funk, Afrobeat, Manding, and tropical rhythms tunes, recorded by such legends as Moussa Doumbia, De Frank Jr, or Francis Kingsley. Compiled by pioneer African music digger and respected DJ Greg De Villanova, a legend among Afro/tropical music collectors and DJs. The consistent liner notes focus on the original label history of Société Ivoirienne Du Disque, based on interviews with the producer. This compilation also marks the great return of the dormant French record label, which released such wonders as Orchestra Baobab's A Night At Club Baobab (2006) or Moussa Doumbia's Keleya (2007). Also features: Afro Train, Sewa Jacintho, Les Frères Kante, Les Nidrou, Afro Soul System, and L'orchestre De La RTI. Includes original and unreleased pictures of the artists and the city of Abidjan in the 1970s, and great artwork. CD version comes in a digipack.
LP version. Play Loud! Productions present the first reissue of Roky Erickson's All That May Do My Rhyme, originally released in 1994. Roky Erickson is a legend. Former member of the 13th Floor Elevators, he was considered the white James Brown. Drug problems and diagnosed schizophrenia made him an outsider. By the '90s, he was struggling to survive on a $200 monthly social security check. In 1990, artists like R.E.M., ZZ Top, and the Jesus and Mary Chain recorded his songs for a tribute album. Erickson performed publicly for the first time in many years at the Austin Music Awards. In 1994, he returned to the studio with guitarists Charlie Sexton and the Butthole Surfers' Paul Leary to record All That May Do My Rhyme. This record was released on CD, cassette, and vinyl in 1994 on Paul Leary's Trance Syndicate Records. Notes from the original press release: "Trance Syndicate is pleased to present the first studio recording in almost a decade by one of the most gifted, most influential, most inspired singer/songwriters from the Republic of Texas since Buddy Holly. Roky Erickson is back! performing new songs and a few classics in one of the best studios in Texas, backed by some of Texas' finest musicians." This is no cheap live tape, crummy reissue, nor a slimy bootleg. This is the real thing.
Hot on the heels of the transcendental Vibe Telemetry long-player from Telephones (RB 008CD/LP, 2016), Running Back present Vibe Remixes. A producer named Call Super remixes an artist named Telephones: a skippy dub journey that recalls an atmosphere that could be found in the space between Smith & Mighty, the LTJ Bukem of his youth, Italian house records, British Balearics, and bass affine music. DJ Fett Burger provides fifteen minutes of almost every style ever invented in the scope of house music. Designed for people with everlastingly short attention spans and DJs on the lookout for a toilet/coffee break.
The Incredible Adventures Of Capt P: Escapism
"Seven years ago Fred P released the CD version of his classic cult album The Incredible Adventures Of Captain P. 2017 sees the second installment based on the concept of Escapism, a word that embodies a personalized experience. Smart phones combined with social media encourages beings to create their own realities, which is escapist behavior. Fred P embraces this state of mind and expresses both the need to tune out and the urge to tune in. This dialog of 11 tracks and interludes captures his surroundings, while reflecting the solitude of headphones. This is a constant stream of consciousness that takes you on a journey into a dimension of sound. It will evoke positive vibes and remind you that our changing world is always in state of flux."
Swingin' Dick's Shellac Shakers Vol. 1: Hot Jive, Jumpin' Jazz & Big Band R&B 78s
Inspired by the beat of the big band and the swingin' hot rhythms of the '30s and '40s.... This collection of swing comes from the vaults of "Swingin' Dick's 78 Social". Renown the world over as "The Original Gramophone Operative", Swingin' Dick shares his collection of shellac shaking phonographic 78rpm records for your edification. Join the enigmatic Dick as he spins his unique brand of hot jive and R&B swing, ten inches at a time! Swingin' Dick's Shellac Shakers Vol. 1 of 78s will have you jumpin' and jitterbugging to the sounds of a bygone era, in all its gramophonic glory. Features: Horace Henderson & His Orchestra, Mezzrow-Ladnier Quintet, Fats Waller, Stuff Smith & His Onyx Club Orchestra, Charlie Barnet & His Orchestra, Rex Stewart's Big Eight, Slim Gaillard, Count Basie & His Orchestra, Jay McShann & His Orchestra, and Woody Herman.
Rafael Toral presents Space Solo 2 on Staubgold: "Space Solo 2 is the final release in the Space Program series, which started with Space (STAUB 069CD/TAIGA 001LP, 2006). Ten releases were originally projected, but the ideas I wanted to explore in a sustained and systematic way have already been fulfilled in these six records. For that, and a number of other reasons, I decided that I will be able to move with more room and freedom outside this structure that is now completed. The Solo series is meant to be reference documentation to my solo performance at the time of their release, on various instruments. Space Solo 2 showcases a different set of instruments from Space Solo 1 (QUECK 011CD/TAIGA 002LP, 2007), namely the glove-controlled sinewaves from the first years, a rarely performed modular synthesizer solo, the Theremin-controlled modulated feedback, and a contemporary approach to the electrode oscillator (featured on Space Solo 1 on a simpler configuration). All tracks are edited recordings of real-time solo performance. As a rule in the Space Program, there is no processing or transformation of sounds, all sounds are heard as originally played (except for mastering sound calibration). There is no 'programming' (as in sequencers or digital devices), no samples or software involved (except editing and mastering software and except tracks 9, 10, 11)."
For Organ And Brass is comprised of two works by the Stockholm-based composer Ellen Arkbro. Both works focus on tuning, intonation, and harmonic modulation. In previous projects, Arkbro composed for early music ensembles, wrote a series of durational pieces utilizing synthetic tones and processed guitars, and, most recently, presented a work lasting 26 days at the Stockholm Concert Hall. For Organ And Brass looks back to Arkbro's studies in just intonation with La Monte Young, Marian Zazeela, and their disciple Jung Hee Choi in New York, as well as with kindred spirit Marc Sabat in Berlin. The title composition was written for an organ with a specific kind of historical tuning known as meantone temperament. It was only after locating an appropriate instrument -- the Sherer-Orgel dating back to 1624 in St. Stephen's Church in Tangermünde, Northeastern Germany -- that Arkbro set about recording both for organ and brass and its counterpart, Three. "Hidden within the harmonic framework of the Renaissance organ are intervals and chords that bare a close resemblance to those found in the modalities of traditional blues music," explains Arkbro. "The work can be thought of as a very slow and reduced blues music." The work moves gradually through a series of long, sustained tones played by the organ and in parallel by a brass trio comprised of horn, tuba, and trombone. Arkbro's treatment of pitch resembles the tuning strategies of La Monte Young. The brass parts were performed by microtonal brass trio Zinc & Copper, a group whose repertoire has included works by C.C. Hennix and Christian Wolff. In Arkbro's words, "the brass instruments and the organ fall into patterns of interaction in which a new breathing instrument emerges." Three, which follows the 20-minute title work, deploys the same principles of harmonic relativity. In removing the organ from the instrumentation and switching to a different meter, Three acts as an intimate counterpoint to the ritual drone cycles of the title piece. For Organ And Brass was recorded in Tangermünde, Germany in September 2016. The performers were Johan Graden (organ), Elena Kakaliagou (horn), Hilary Jeffery (trombone), and Robin Hayward (tuba). Ellen Arkbro's work has been performed in Brooklyn, Stockholm, Norberg, Bologna, Gothenburg, Berlin, Birmingham, and Malmö, and on Swedish National Radio.
Norwegian sound artists Alexander Rishaug and Lasse Marhaug have worked together as a duo for almost 20 years. In this time they have produced one album, 2004's Feel Free At Home. Now, the pair are ready with their follow-up: Corneal Clouds. The music was recorded in 2012, then put through an extensive and meticulous fermentation process of five years until now -- at last -- it is ready for the public. Rishaug Marhaug promotes positive thinking through their unique brand of electronic music. Recorded at Brugata, Oslo, 2012. Mixed by Alexander Rishaug at SinZen Studios, Oslo, 2017. Mastered by Stephan Mathieu at Schwebung Mastering. Illustration by SavX. Edition of 125.
"Our headline stories this time include a candid, in-depth new interview with Dean Torrence of Jan & Dean, and a feature of '60s Southern rock 'n' soul heroes The Uniques. We also reveal the stories of Sloan & Barri pop protégés The Thomas Group, Australian shock rocker Geoff Crozier, Swedish R&B long-hairs Sooner Or Later and New York garage teens Johnny Farfisa & The Individuals. Meanwhile Mike Medina delves into the mystery of drumming genius Eddie Hoh, who played with MFQ, the Monkees, the Mamas & the Papas and others before disappearing into night and fog at the end of the sixties. Our story about Southern California garage psych cult heroes Things To Come concludes, and Hunter Bennett interviews Tony Kinman of The Dils and Rank & File. Plus much more, including a new installment in Cyril Jordan's ongoing Flamin' Groovies saga, and our extensive review sections, the ultimate consumers' guide to all the latest vinyl and CD reissues and rock'n'roll-related books."
Electroacoustic Works collects three major pieces from the early 21st century New York-based composer Dan Joseph. This double CD release includes Set Of Four, a group of fixed-media sound collages using the processed hammer dulcimer as the primary sound source, two live performances of Dulcimer Flight for electroacoustic hammer dulcimer, and a 64-minute version of Periodicity Piece #6, a mixed-media work that originated as a multi-channel sound installation. With roots in early minimalism, ambient music, and acoustic ecology, the works herein represent a significant subset of the composer's larger body of work from the past twenty years that he has developed alongside an active career as a composer of instrumental chamber music. Dan Joseph began his career as a drummer in the punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground. He spent the '90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran, Mel Powell, and Terry Riley. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music.
From the liner notes by Alan Licht: "What's striking about Dan Joseph's music is that it's drone oriented but also mindful of timekeeping. This would seem to be a paradox: most drone-based music and/or classic minimalism often reaches for a feeling of cosmic timelessness, or a sense of perpetuity via repetition, but the pieces on these discs all demarcate time in some way . . . Duration, another minimalist conceptual hallmark, is a means to an end rather than an end in itself for Joseph: the combination of simple harmonic material and extended lengths of time allows for more activity that is readily perceived, rather than to set up a near-static hypnotic state that is only occasionally jostled by a subtle shift in the music . . . In the computer age, digital memory and storage capacity are crucial technological attributes and an everyday concern; Dan's electroacoustic pieces set up their own kind of memory banks for both the performer and the listener. The musical information is being supplied to and retrieved from both electronic and mental repository systems. This is post-minimal music where repetition is a mnemonic device, rather than a tool for trance or head-clearing."
Bringing It All Back Home Again 12"
Pol Pot's Pleasure Penthouse 2LP
Single Collection 1972-1980 2LP
Calypso Rose Meets Mo Laudi 10"
Like Nashville In Naija: Nigeria's Romance With Country Music, Yesterday And Today 2LP
Bad Things Happen When It's Quiet 7"
Valerie And Her Week Of Wonders 7"
The Great Adventures Of Slick Rick / Children's Story CD w/7"
El Barbaro Del Ritmo: Mexico & Cuba Recordings 1947-1962 2LP
Alessandro Cortini & Masami Akita 2LP
Patterns Of Consciousness 2LP
Wild One/Courageous Cat 7"
Allen Ginsberg Reads Howl and Other Poems LP
Girls In The Garage - Oriental Special - Volume 9 LP
Girls In The Garage - Groovy Gallic Gals! - Volume 10 LP
Golem (Silver and Black Vinyl) LP
Guitars of the Golden Triangle: Folk and Pop Music from Myanmar (Burma) Vol 2 2LP
Terremoto Richter 6:25 - Managua LP
Clarence Ashley - Live And In Person: Greenwich Village 1963 LP
I Believe I'll Go Back Home (1906-1959) LP
Parallel Dimensions Cassette
The Incredible Adventures Of Capt P: Escapism 2LP
He Is The Voice I Hear 12"