LP version. Carla dal Forno presents her debut solo album You Know What It's Like, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone - stoned and deadpan - but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno's emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. "Fast Moving Cars" and "What You Gonna Do Now?" weigh up claustrophobia against loneliness, inertia against acceleration, doubling-down versus taking-off; the title track acknowledges the provisional nature of love and "real" intimacy, then decides to brave it anyway. By the time the startlingly sparse "The Same Reply" arrives, the sense of dejection is absolute. The vocal-led pieces are interspersed with richly evocative instrumentals. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures "Italian Cinema" and "Dragon Breath" channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. The drum machine and bassline of "DB Rip" are pure Chicago house, but then its dark choral drones nod to Dalis Car's dreams of blood-spattered Cornwall stone. "Dry The Rain" drinks from a stream of moon-musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats's Odyshape (1981).
White and yellow splatter vinyl version. Beacon is the fourth album for the Silver Apples, the "come back album", produced by Steve Albini and originally released in 1997 on CD only. Eight of the tracks were new songs that former exile and Silver Apples leader Simeon had composed with recent additions Xian Hawkins and Michael Lerner. The remaining three tunes are remakes from the Silver Apples's past. A reworking of "I Have Known Love" opens the record. "You and I" is given an appropriate chaotic reading; a wall of cacophonous keyboards forms in the instrumental breaks, like the video game Stargate on tilt. Of the originals, the vocal-less "Cosmic String" is the standout, developing a Trans Am groove with sounds recalling the moment the beloved Pac-Man is caught by his nemesis, Speedy. Beacon is full of the influence of '80s video games, no doubt incorporated by the twenty-something Hawkins.
Cinedelic Records present a reissue of Sandro Brugnolini's Overground, originally released in 1970. This 1970 Italian obscure psychedelic jazz-rock masterpiece composed by Sandro Brugnolini and recorded in Rome at Dirmaphon Studio. Performed by Silvano Chimenti on guitar, Giorgio Carnini on organ, Giovanni Tommaso on bass, and Enzo Restuccia on drums. Includes two bonus tracks not included on the original album. Limited edition of 300 numbered copies on multi-color vinyl with a download card.
Dagored present an expanded reissue of Luciano Michelini's soundtrack for Anna Quel Particolare Piacere, originally released in 1974. A really interesting soundtrack, composed by the cult author Luciano Michelini for the 1973 erotic thriller Anna Quel Particolare Piacere, directed by Giuliano Carnimeo. Alternates romantic moments with the voice of the great Edda Dell'Orso and easy listening - funky tunes. This limited vinyl edition with comes with extra tracks. Edition of 500 in double colored vinyl.
"Born out of the instant high of first hearing the Ramones' 'Blitzkrieg Bop' and the Sex Pistols, Dan Personne and Klas Björkman threw out their hard rock records and formed a band together with creative/doer Anders Sjölander in suburban Stockholm. Taking advantage of Sweden's close proximity to London, they shuttled back and forth to explore punk and new wave and scoured Rough Trade for the latest sounds. This eventually gave birth to Hörförståelse including new members Mats Wigerdal (formerly of minimal synth legends Kitchen & the Plastic Spoons), Örjan Magnusson and Olle Öfverberg in 1980. 'Förläst Jävel' (which roughly translates as 'overeducated bastard') is one of the keystone DIY punk 45s of the era. Casual ranting over a dizzying bassline and a scrappy keyboard which sounds like it was recorded in the apartment next door, Hörförståelse channels bands like The Fall or The Desperate Bicycles but through an intangible yet somehow distinctly Swedish filter. The band moved a bunch of copies of the record through its own distribution network, which included donating 50 copies to the aforementioned Rough Trade shop in London, but as the story usually goes, the record garnered little attention even domestically. With the punk era starting to wane and Swedish labels increasingly prioritizing English-language bands, there was no one willing to take a chance on Hörförståelse. Thankfully for us, the band went into the studio again in 1982 to record 8 hitherto unreleased songs, making up the backbone of this collection."
"That guitarist Bill Orcutt & drummer Chris Corsano would play as a duo should come as a surprise to no one. As artists, both of them have bent sonic boundaries to the breaking point, especially as regards rock-based music, and they have long flowed through the same international sub-underground arteries. It was only a matter of time. The first fruit of their union was a brain melting LP called The Raw & The Cooked (2013), recorded on tour in 2012. Live at Various / Various Live is made up of the two Palilalia cassettes that followed it. The tracks were recorded between a couple of tours, one in 2013 and one the following year, in Northampton, Mexico City, Brooklyn, Montreal, Cleveland and Rochester. And they demonstrate the ferocity of Orcutt's return to the electric guitar. Twinned-up with Corsano, Bill goes for the most distorted and bleeding tones available, whether pouring out frenzied clusters, or slow-bending blue-notes in the tradition of Loren Connors, the raunch of the proceedings is a physical presence. And Corsano goes deep into rolls and splashes with an almost perverted intensity. There ain't much space here for sweetness or subtlety. The music is driven home with mallets, achieving a near-Beefheartian density in spots. Heard as a whole, this album provides a gush of relentless thug-beauty of a sort that has never been in long supply. Grasp it now or hold your sad peace for now and ever." -- Byron Coley. Double LP with gatefold cover. Recorded by Chris Corsano and Bill Orcutt on tour in 2013 and 2014. Reissue of two cassettes originally released on Palilalia as Live At Various and Various Live. Edition of 500.
Gold vinyl repress! A highly important previously unreleased soundtrack for Circle Of Life, created in 1972 by musician Delia Derbyshire and artist Elsa Stansfield. The soundtrack is a mix of concrete ideas, sound design, tape manipulation, natural environmental sounds and birdsong. The recording was originally commissioned by director, producer and art collector Anthony Roland for his 1972 film about the slides of radical stills photographer Pamela Bone. The film has been rarely seen and the soundtrack has never been released until now. This is the longest known work by Delia Derbyshire - either alone or in association with anyone else - and has been licensed by Trunk Records exclusively worldwide from the Anthony Roland archive/collection. Mastered by Jon Brooks, AKA The Advisory Circle. Full color single LP sleeve.
Japanese Traditional Music: Songs of People at Work and Play - Kokusai Bunka Shinkokai 1941
The fifth and final volume of World Arbiter's Japanese Traditional Music marks the completion of the label's excavation and restoration of 60 10" 78RPM discs of Japanese traditional music, bringing a great body of lost music to light and offering in full a legacy that has been almost entirely unavailable until now, even in Japan. The original set was manufactured in 1941 by a company now called the Japan Foundation, and was intended to be presented exclusively to libraries (though the Japan Foundation now has no record of having produced it). There are only two known sets of these discs, both missing the same final 10". World Arbiter acquired one original set of 59 from Beate Sirota Gordon (daughter of pianist Leo Sirota) in the 1990s, and, after a ten-year search, finally located a test pressing of the 60th disc in a theater museum in Japan. Upon first hearing these recordings, World Arbiter's Allan Evans was shocked to hear that the discs contained every species of traditional music, from the court's origins in shamanic rites, Buddhist chant, Noh plays, kabuki, and blind biwa players' haunting songs of chilling epics, to the recordings presented here: a final volume full of folk songs that captures rice planters, weavers, tuna and herring fishers, and children, all funkier than one could imagine and with the presence of eternity in their every sound and breath. The sounds and intensity of Volume Five's folk music surpass anything heard in the classical music of Japan. With Japan's ongoing modernization and loss of its traditional music, World Arbiter's audio restoration removes artifacts from chronological chains to resonate in the eternal flow of sound that defies time and space, remaining vital and always in the present. Includes 24 tracks of performances by anonymous Japanese singers.
"Originally released in 1977, this was the first album Iggy Pop made after the dissolution of the Stooges, several jailings and a self-imposed stay in a mental institution. Produced by David Bowie, and including music written almost entirely by him, this is Iggy's most introspective and heavy work. Much more mechanical than the sleazy proto-punk of the Stooges, The Idiot was a huge influence on the post-punk sound of folks like Joy Division and Magazine. An absolute classic on white - clear vinyl."
Third World Pyramid is the 15th full length release from The Brian Jonestown Massacre recorded in early 2016. It is the first album that was fully recorded & produced at Anton Newcombe's new Cobra Studio in Berlin. Third World Pyramid encapsulates the old and new sounds of the band, with the nine tracks starting from the melancholic "Good Mourning" going through to "Assignment Song" - which is a cover of Nina Simone from her 1971 album Gifted & Black - and the latter tracks show the ever-changing dynamic of the band, acknowledging their past but also looking to their future. Featuring Ricky Maymi, Dan Allaire, Joel Gion, Collin Hegna and Ryan Van Kriedt. Also, Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album, plus vocal performance Tess Parks and Katy Lane. Anton Newcombe has been a very busy man these past two years, kicking off with the critically acclaimed Brian Jonestown Massacre album Revelation in 2014 (AUK 030CD/LP). After a successful UK and European tour, the BJM followed this up with the +- EP (AUK 031EP, 2014). 2015 saw the release of Musique de film imaginé (AUK 032CD/LP); an imaginary film soundtrack album featuring the track "Bonbon" which has, ironically, been used in Dheepan, the Palme D'or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well-received tour of the UK and Europe to support the release of I Declare Nothing (AUK 120CD/LP, 2015). Anton finished 2015 with a BJM mini-album release entitled Mini Album Thingy Wingy (AUK 033CD/LP).
With half a century of existence, Beninese band Poly-Rythmo can easily be considered a legend of African music, alongside Fela Kuti and Tinariwen. Drawing their name from the extensive mix of influences that forged their sound (American soul and funk, Nigerian Afro-beat, French chanson, Congolese rumba, etc.), they have been impressively productive, releasing hundreds of EPs and dozens of albums from 1969 to 1980 alone. In 2014, orchestra conductor Florent Mazzoleni visited the band and decided to produce Madjafalao, recorded in the legendary African studio Satel. With its warm tone and mastery of rhythm variations, Madjafalao ("Watch Out") will instantly become a classic of Afro-beat and Poly-Rythmo will share their warm joie de vivre with thousands of people. CD version comes in a digipack with a 12 page poster booklet.
"'Baby Whale' doses a cross between classic Chicago house and E2-E4 with a no-prisoners boogie bassline and piano chords glistering in from Rimini. JV's signature spaced-out production assures a head-turning dancefloor banger for the 4am crew. 'Adam & Eve' is an intriguing mix of exotica and Arthur Russell. 'The sound of Matisse,' says the label."
Bureau B presents a reissue of Sven Grünberg's Hingus, originally released in 1981. Sven Grünberg is a famous musician for film and theatre in Estonia - an old hand in the field of electronic ambient music. In 1974, whilst still a music student, he and Härmo Härm founded Mess, a progressive rock band. Grünberg was the first musician in Estonia to use a synthesizer. The ambient electronica of Hingus (Breath), recorded between 1978 and 1980, was spiced up with prog rock and a nod to the space age - not to mention a pronounced Asian influence on the title track. Grünberg had been interested in Asian music and instruments, particularly Tibetan music, since his youth, as can be heard in his work from that time. The 23 minute title track invites us into a fascinating, futuristic world of sound, laced with far eastern tonality, embellished with a church organ, extremely rare synthesizers and extraordinary percussion effects. Organs from the church in Rapla and the cathedral in Tallinn can be heard on "Hingus I" to "Hingus IV". The religious tones are interspersed with synthesizer sounds and orchestral percussion or effects, ascending fleetingly into ecstasy. Tubular bells, cymbals (piatti), a ratchet (raganella), tambourine, gongs (an east Asian tam-tam, for example), glockenspiel and castanets are all featured. Grünberg also used various electronic instruments: the HH Synthesizer, HH Percussion Synth and a KS Synthesizer. Not surprisingly, little information can be found on these machines as they were created by Härmo Härm and Koit Saarmäe themselves, the only two people building synths in Estonia in those days. The exotic assemblage also included a Selmer Clavioline from France, an ARP Omni and a Logan String Melody. The other two tracks, no less superb, are more in the stylistic tradition of the Berliner Schule/Berlin School (Klaus Schulze, Tangerine Dream). Hingus merits a special place in the history of ambient electronica thanks to its remarkable combination of church organs, synthesizers, orchestral percussion and echoes of Asian instrumentation. An underrated classic of the genre, there are moments when its extraterrestrial beauty transports the listener into the higher realms of psychedelia.
Cinedelic Records present a reissue of Giacomo Dell'Orso's A Me Stesso Con Simpatia, originally released in 1975. This 1975 album is a studio session organized by Maestro Giacomo Dell'Orso (the husband of Edda) is released here under his given name and not the Oscar Lindok pseudonym under which he made a number of recordings including The Fine Machine. A Me Stesso Con Simpatia had the simple purpose of a fun and playful session without preconceived models. The result is a carefree album, from the friendly cover (Orso means "Bear") to the music that is interwoven with bossa nova, samba, jazz and funk in a style that recalls in many ways the work of Maestro Piero Piccioni. Dell'Orso plays organ, electric piano and Bulisacchio (a synth with metal slats that simulate bass). Features Nino Rapicavoli on flute and sax, Jimmy Tamborelli on guitars and Ciro Cocozza on percussion. Limited LP edition includes a download card.
Disquiet is the imaginary soundtrack to the lost 1976 Russian-American dystopian classic. Russian occultists Old Komm collaborate with the south Californian dons of austere electronics, German Army, bringing to life the made-up soundtrack to a film that never was. Disquiet tells the story of a child born to a desolate, post-apocalyptic world, war-torn and fractured by greed. Organ tones and broken exoteric bumps coexist with dark ambient themes and cavernous beats. Remnants of wry memories, smothered dreams, dim visions of a world that never was.
"Hubris continues the exploration of relentless, driving rhythms heard on Oren Ambarchi's Sagittarian Domain (EMEGO 144CD/LP, 2012) and Quixotism (EMEGO 202CD/LP, 2014). Where those records looked to krautrock and techno for their starting points, the side-long opening track on Hubris begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi's love of Wang Chung's soundtrack to William Friedkin's To Live and Die in L.A. (1985). Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O'Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell's electronic percussion in its final section. After a short second part, in which Ambarchi, O'Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP (1983). As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi's own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions." -- Francis Plagne. Mastered and cut by Rashad Becker at D&M, Berlin, April 2016. Photography by Estelle Hanania. Sculptures by Daniel Druet. Design by Stephen O'Malley.
Faitiche welcomes back Andrew Pekler, the musical director of the 2011 album Sonne = Blackbox (FAITICHE 005CD) featuring Ursula Bogner. Andrew Pekler's Tristes Tropiques is an album of synthetic exotica, pseudo-ethnographic music and unreal field recordings. Jan Jelinek interviews Andrew Pekler about Tristes Tropiques:
JJ: You've titled your album Tristes Tropiques - a reference to Claude Lévi-Strauss's famous account of his travels among native peoples in the Mato Grosso. If I remember correctly, the book can be read in two ways: as an ethnographic study of indigenous Brazilian tribes, and as a critique of anthropological methods. What exactly about Tristes Tropiques inspired you? The melancholy travelogue, or the formation of a new, critical school of thought?
AP: Both. Lévi-Strauss's constant reflection on the purpose of his work and the often melancholy tone of his writing constitute an internal tension which runs throughout the whole book. Tristes Tropiques is many things; autobiography, traveler's tale, ethnographic report, philosophical treatise, colonial history. But ultimately, it's the author's attempt to synthesize meaning from fragments of his own and other cultures that resonated most strongly with me - and led me to a new perspective on how I hear and make music.
JJ: Listening to Tristes Tropiques I noticed a certain oscillation between references, which is what I really like about it. Obviously, your music alludes to the beloved fairytale kitsch of exotica, but it also repeatedly shifts to a mode of ethno-poetic meditation music that seems to have no beginning or end. Where do you yourself locate the tracks gathered here?
AP: As a listener and as a musician, exotica music of the 1950s and '60s has always been a constant reference point and inspiration. And perhaps my listening has been "ruined" by exotica, but as I have dug deeper into ethnographic archives of "traditional" music, I've come to the realization that all recordings that evoke, allude to, or ostensibly document other musical forms have a similar effect on my imagination: I am most intrigued when I perceive some coincidentally familiar element within the foreign (a tuned percussion recital from Malawi that immediately brings to mind Steve Reichian minimalism, or the Burundian female vocal duet that sounds uncannily like a cut-up tape experiment, etc.). I suppose this album is an attempt to recreate the same kind of listening experience as what I've described, just with the electronic means that I have at hand.
The Berlin based imprint deliver a remix package of Grandbrothers's Dilation (FILM 001CD/LP, 2015). Erol Sarp and Lukas Vogel craft dense, rousing music with nods to IDM, ambient and techno, from the sounds of the grand piano and a set of 20 self-built hammers hitting the piano on different parts. NYC native FaltyDL takes on "Newtons Cradle", turning in a psychedelic slice of half time proto-footwork while both Phillip Otterbach (as Grand Optimist) and Djrum offer their own tripping, ambient reinterpretations. Portable Sunsets reimagines "Neon" as fuzzy beach house jam, with driven drum machine hits and a soothing Vox line.
Triple LP version. Clear vinyl edition. Includes poster and CD. Mare is the second studio album for German electronic musician, artist and producer, Christian Löffler. Located on the Darss peninsular, overlooking the southern coast of the Baltic Sea, is Christian Löffler's log cabin, nestled among birch and willow trees where he locks himself up to work on both his visual art and his music. In the center of the room is a huge oak table, splotched with multi-colored oil paints, surrounded by canvases, cameras tripods, tools, brushes. There's a great view of the sea, and the wide patio windows allow the light to flood inside. It's these modest and in some ways rudimentary parameters that allow Löffler to make sincere and honest music. Mare follows in a similar vein to his debut, 2012's A Forest. However a key difference is Mare is much more organic, nearly every sound and every instrument being self-recorded. Many of the album's ideas are based on field recordings taken from the surroundings. On top of this, several microphones were set up in the room and left to run on for whole sessions. The microphones collected everything, from tapping, singing, playing, footsteps, as well as percussive elements added on the fly such as bottles, sticks, keys, or anything lying around. Sometimes he would open the sliding patio doors, where sounds from outside would blend into the mix. Among the instruments placed around the table were an old marimba, a mandolin zither, some self-modified synthesizers, and various other sound tools accumulated from his travels. For Löffler, another interesting aspect of the album is that it's the first time he himself sings on a record. "where the first album [A Forest] felt to just be on the surface of what I can say with this project, it now feels like that I've come closer to the core of what I want to express." The instrumentation, the setting, and the process, make Mare a highly individual body of work that sees him expanding the limits of his set-up. The LP features the highly emotive sound that Löffler's become known for, using deep house as a stylistic framework with which to base his tracks. Exploring spaces of emotional and physical loss, he blends wistful melodies, drum machines, and found sound into a wandering, melancholic mélange. Four tracks that feature the vocals of previous collaborator Mohna.
"John E. Tinsley was born in 1920 in Chestnut Mountain, Virginia and later moved to Henry County in an area just outside of Martinsville. According to the liner notes of Smithsonian Folkways Compilation Virginia Traditions: West Piedmont Blues, which featured two John Tinsley recordings, Tinsley began playing guitar at the age of 15, at the behest of his neighbor. He would go on to be influenced by other Piedmont and East Coast bluesmen such as Blind Boy Fuller, Josh White and Buddy Moss. However, it wasn't until 1952 that Tinsley and friend, Fred Holland, first recorded any of Tinsley's repertoire. Bassett, Virginia's Mutual Records released 'Truble Blues' and 'Keep Your Hands Off Her' as a 78 that year. Following the poor sales of the 'Truble Blues' 78, a discouraged Tinsley briefly left the world of secular music behind, playing religious music exclusively in the mid-1950s and 60s. Yet, flash forward to 1978 to find Tinsley recording the session featured on this reissue of Country Blues Roots Revived for the primarily Bluegrass label Outlet Recordings, accompanied on most cuts by his son William on piano and J.P. Young on harmonica. This recording has not been available since the '70s and is a rarity treasured by lovers of the Piedmont blues style.This co-release by Manufactured Recordings and Steady Sounds also includes his lone 78 release on Mutual as a bonus 7"."
"The duo of Nate Young (Wolf Eyes, Regression) and David Shettler (Viands, SSM) return with their highly-anticipated full-length follow-up to MEQ 2LP remixes, released by Midwich in 2015. Humanizer is sonically diverse featuring varied modes of production throughout. Humanizer jettisons with their live staple 'New British Blues', the 10-minute track recalling Shettler's long-form work in Viands, putting synthesizers in space, as live drums invigorate the track with an earthbound brashness. 'Cycloid' is the album's most concise, bracing and dare-we-say catchy number -- a real ear-worm. 'Sea Dust' is a blasting electronic collage also featuring live drums (we think). The title track 'Humanizer' is classic Moon Pool, creepy and menacing with an off-kilter bass thump. 'A Gray Glow' continues in classic mode with thumping bass and queasy synths. 'Hospital Quiet' features pleasing, sunward-facing ambience to reassure listeners that all is good. Moon Pool and Dead Band have been a Detroit cult techno favorite since Shettler and Young joined forces in 2011. Uninitiated listeners are caught off-guard by the funkiness of the group, shaking assumptions about the group's perceived roots. We've all heard bad noise-techno records -- this isn't one of them. The danceable style is one that grows organically from the duo's life experience. Moon Pool and Dead Band approach the music with respect, knowledge and humor. Humanizer is a party-starter that could have only come from Detroit."
2x12" version. Includes download code. Sam Barker and Andreas Baumecker's lives have always revolved around different kinds of music. That's partly why their productions as Barker & Baumecker are more unpredictable, harder to pin down than what you might expect from a label borne out of a techno club. And while their music is clearly built for dancing, listening to it reveals a deep love and respect for many forms of electronic music. Their second album, Turns, is an amalgamation of their unique musical minds, transcending electronic music genres and styles, while further developing and refining the Barker & Baumecker sound aesthetic. With two EPs, an album, and almost 20 remixes under their belt, Barker & Baumecker continue to steadily explore and reshape their shared electronic musical interests, especially in techno, bass, breaks, and experimental terrain. Talking about the title of the album, Barker explains, "the two of us have had quite a lot of ups and downs since the last record, and when you're in a collaboration where you only work together in real-time, in person, both people need to be in the right frame of mind." Baumecker adds, "Turns also had something to do with the tracks - almost every one turns towards the middle." While none of the tracks on Turns are merely functional, Barker & Baumecker do, of course, envision them in the club. There's nothing typical about any of these tracks, but they each share a clean aesthetic and sound palette with a sense of depth and compositional purpose. The ambient intro of album opener "Senden" morphs into a Reichian flow. The low-end drums of "Encipher & Decipher" weigh down the dreamy melodic synths. "Club Entropicana" reduces rhythm and sound to machine signals, akin to Raster-Noton's starkness. Both "Turnhalle" and "Nocturnal" incorporate trance euphoria with break-beats but in different ways, while closer "Statik" has a deliciously slippery garage pulse guiding it through a journey towards house bliss. Never knowing where they'll draw from next, Turns feels like Barker & Baumecker are expanding and refining their own musical dialect. Like most of the music they're both drawn to, it's thoughtful, rich, and ever evolving, but always and completely committed to the club.
Double LP version. Includes MP3 code. Gerd Janson and Phillip Lauer, aka Tuff City Kids, are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years. Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live At Robert Johnson. And then there are the remixes - Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic. Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy, thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau, and even the album's instrumental cuts, featuring some clear nods to various eras of dance-pop, from the boogie-inflected funk of "Wake People" to the breakbeat techno of "Boilered" and the tweaky rave nostalgia of "Nordo." Elsewhere, first single "Labyrinth" is an infectious bit of new wave, while the guitar-driven "Scared" recalls the gloomier side of '80s pop and "Tell Me" is perhaps the record's most playfully soulful moment. DJs will likely gravitate toward the darting strings of "Aska" and breezy vibes of "Farewell House," yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener "Ophmar" evokes the legacy of John Carpenter, while the crunchy "R-Mancer" offers up a sort of psychedelic synth freak-out. Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways?
The perfect introduction into the world of Germany's doom jazz cult band Bohren & Der Club Of Gore highlights the group's catalog from 1994 onwards. Includes rare tracks from deleted albums, some newly mixed versions and one complete new song. For fans of SunnO, OM, Max Richter, Fennesz.
"The substance we are seeking here lies beyond the bare bones of fact, the when and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments. The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two founder members going after all this time? Do Morten Gass and Robin Rodenberg have skeletons locked in their closets? How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved. Including their debut Gore Motel (1994), Bohren & Der Club Of Gore have amassed an impressive eight long players... Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists Gore (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future... Similarly conspicuous by their absence in the Bohren chronicles are the numerous instruments which they added to the mix. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums. A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. The music of Bohren & Der Club Of Gore opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a dusky woodland tavern to a smoky quayside dive... These sinister crackling songs are invitations to secrete oneself in darkness." --Lars Brinkman.
Rhythm master Klaus Weiss knew he had a good thing going with Niagara (1970). The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments, it became quite a memorable and unique record. Now for the second album S.U.B. (1972) he felt he had to go other ways. He recorded with a complete rock outfit plus a few brass instruments. S.U.B. has a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid-back but really present bass guitar adding more depth and power to the beats. Clean rhythm guitars with a nifty wah-wah effect add an extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the back cover to find out that this is a German outfit instead of one of these utterly hot-and-hip U.S. funk rock cult bands of the '70s. Niagara aka Klaus Weiss, waive the vocals so it is an instrumental record you face with S.U.B., but this band goes so wild in some of the compositions, that you will be left breathless and on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. S.U.B. is a masterpiece of funky and utterly unleashed rock music from the early '70s.
LP version. PMG present a reissue of Harry Mosco's Country Boy (Mr. Funkees), originally released in 1978. Don't let the floppy hat and rolling English countryside on the cover fool you. Harry Mosco's Country Boy is a certified floor-filler, bursting with Studio 54 era disco-funk. It also contains a token reggae monster, complete with its own dub version. Harry Mosco always had swagger. A founding member of The Funkees, he'd stride out on stage in tight pants and dark sunglasses, commanding the attention of a population distracted by war. When The Funkees split in London, it was clear that his star would rise the fastest. Released in 1978 by Nigeria's fledgling Taretone label, Country Boy became one of the best-selling Nigerian records of all time. The first few bars of "It's Too Late" are guaranteed to get you on the dance floor and Sam El'Salahi's slinky bassline on "I Feel Funky" will keep you there. "Harry's Party" is a celebration you never want to end. The title track, and its dub doppelganger, are a reggae-tinged chance to catch your breath, before "The Wanderer" drags you back on the dancefloor until the house lights come on.
"We're talking early '80s sophistication here, with a killer groove designed to let you show off all your moves and still look as classy as hell. By the late '70s and early '80s, disco was king in Nigeria and BLO were under pressure to follow the trend. Typically, they did it their own way, with slinky bass lines, Nile Rodgers guitar licks and a beat guaranteed to make you move. The Afro-beat and psyche rock stylings were gone, but the tightness and funkiness that comes from laying down rock hard grooves for over a decade remains." --Peter Moore.
In times where a compilation of 12-inch bangers passes as an album, Telephones's debut album Vibe Telemetry opts for a different approach. Without being a departure from his 12-inches for Sex Tags UFO, Full Pupp and Running Back or his brilliant remix work for José Padilla and Vangelis Katsoulis, the Norwegian producer from Bergen who calls Berlin his home, hones sound, skills and aesthetics on his debut long-player. Vibe Telemetry is inspired by the pure feeling of listening to house, disco and techno, prior to knowing what it actually was: ambiguous, euphoric, mystical and melancholic, sonic and physical experiences, which names and origins were yet to be discovered. Sleeve designed by DJ Fettburger.
Anima Ardens is a new soundtrack creation by Francisco López. Eleven men, eleven dancers in constant nudity, throw themselves, body and soul into Anima Ardens or "Burning Breath", highlighting the diversity of their bodies and origins. Trance rituals or being in shamanic trance, takes anyone to the source of their emotions. All surrounded by the organic sound environments of Francisco López. Comes in a digipack sleeve.
Electronic music producer and DJ Greg Sanders, AKA Distance, presents his third album Dynamis. Alongside recording Dynamis over the past four years, Distance has been writing and producing for other artists which veered him away from his 140bpm roots. The productions of A$AP Ferg, Drake, Schoolboy Q and earlier Arca and FKA Twigs were a big influence, alongside the soundtracks of Hans Zimmer and Cliff Martinez. "I get inspiration from everywhere and deliberately try to ignore what is happening in the scene I'm most involved in. Dynamis is influenced a lot by film scores. I have geeked out massively to create great dynamics in all of the tracks, sounds are heavily automated and processed to really give the music life." Even the structure of the tracks ditches the typical DJ friendly layouts and is programmed in an order that best helps to deliver the story. As producer, DJ and label owner of Chestplate Records, Distance has been instigating change in music since emerging in 2003. His first two albums My Demons (2007) and Repercussions (2008) were released through Planet Mu. "I feel very privileged to have released two albums on Planet Mu and they are still referenced by many as key albums in dubstep's history. Tectonic has been releasing my music for almost a decade, so it felt right for me to produce an album for the label. Pinch is a good friend and one of the few people whose opinion I trust." Dynamis is the first Distance album to feature vocalists; helping to portray emotions, tell a story and aid the overall narrative of the album. "When recording 'Badman' with Killa P I got him to stand as far away from the mic as possible and shout the lyric across the studio, as though he was shouting at someone across the street. We were cracking up at the time. I then used these recordings to create multiple layers and textures to his vocals. This gave the impression of there being a huge crowd of people chanting the chorus. Beezy was also a great artist to work with. We were done recording in about 20 minutes, he's so professional and knows exactly how to deliver the vocals the way I need them."
Abduction Records present the first vinyl LP release of Hound Dog Taylor's Hand. The trio consists of Jeffery Taylor (Climax Golden Twins/AFCGT/Spider Trio) on electric guitar, Mark Ostrowski (Monktail/Wally Shoup Quartet) on drums and John Seman (Monktail/Ask The Ages) on contrabass. The music is a heavy dose of jazz, blues, and improvisation. Sharp and destructive yet cerebral and clever, these tracks finally expose one of Seattle's best-kept secret treasures to the world as the only way you could have heard them, before would have been at one of their extremely rare live shows in the Puget Sound area or from their locally produced cassette from a few years back. The second track on side one titled "Beatrice", features Climax Golden Twins and Beatrice Harrison. Edition of 500.
"Hound Dog Taylor's Hand bring a highbrow brutalism and cranky chaos to jazz rock. [They] sound like Hound Dog Taylor's actual hand looks: scary and slightly off - Fans of Sonny Sharrock and Billy Cobham's Spectrum, take note." -- Dave Segal, The Stranger.
"A new trio from Seattle, led by the guitar work of Jeffery Taylor of Climax Golden Twins. The material is blues based instrumental improvisation over a jazzoid rhythm section. Something like a cross between Taste and Rangda, I guess. With all traces of Sri Chinmoy wiped clean." -- Byron Coley, Wire Magazine.
Reissue of Thurston Moore and Tom Surgal's long out-of-print 1996 Not Me (originally released as both CD and 10" on Fourth Dimension). Two pieces of improvisational electronics, guitar, and drums, 11 minutes each. Includes 2016 liner notes by Moore. Packaged in gatefold CD sleeve. Limited edition of 500.
"From Steve Hauschildt: 'Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they're bending through time. It's also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ' From Kranky: 'Graceful compositions flow throughout Steve Hauschildt's fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener 'Horizon of Appearances,' to the pulsing hypnosis of 'Ketracel,' and on to the searing grandeur of album closer 'Die in Fascination,' throughout, Steve remains restrained and in complete control of his sound.' "
LP version. Includes insert. Edition of 300. Visions Of Shadows That Shine is a collection in extempore arrangements, and in ways a "bonus" album for In Gowan Ring's The Serpent And The Dove (2015). These songs accompanied Bobin Eirth (aka B'ee) throughout these seasons - playing with friends in the open air or in private chambers, in the sun or around the fire - while working with the original material on The Serpent And The Dove. Certain pieces are considered intrinsically related to this album, having attended the entire process, while others are rather spontaneously included in these late hours. Originally self-released in 2015, Lune Music present a reissue here.
Boot & Tax are back with their first new music of 2016. Four tracks of spangled, idiosyncratic, woozily spacious and slightly off-kilter music that could only have been made by these two Milanese maestros.
The Idiot (Colored Vinyl) LP
Hawai'i Authentic: The Pre-War Era, Vol. 2 (1927-1936) LP
Listening Comprehension (1980-1982) LP
Country Blues Roots Revived CD
Country Blues Roots Revived LP + 7"
12 Golden Country Greats LP
Trailer Park (Red Vinyl) LP
You Know What It's Like LP
Beacon (White And Yellow Splatter Vinyl) 2LP
A Me Stesso Con Simpatia LP
Il Dolce Corpo Di Deborah LP
Anna, Quel Particolare Piacere LP
Really Ties The Room Together EP 12"
True Believer / The 10/40 Window 7"
2 Bad Inna Bull Dub/Ball Park Dub 10"
For Various Reasons EP 1 12"
Intristic Randomness 2x12"
Low Rider/All Black Winter 10"
Academy Of Heroes Remixes 12"
New Bottles Old Medicine LP
The Last Shall Be First LP
Raise Your Head And Smell The Air 12"
Live At The Agora Ballroom, Cleveland July 19, 1976 LP
Compost Black Label 136 12"
Undead/Control Remixes 12"
Mare (Clear Vinyl Edition) 3LP+CD
Visions Of Shadows That Shine LP
Country Boy (Mr. Funkees) CD
Country Boy (Mr. Funkees) LP
Sahara All Stars Of Jos CD
Sahara All Stars Of Jos LP
Happiness/Nwanne, Nwanne, Nwanne 12"
Patterns Of Eternity EP 12"
Mavandeza/Taratasy Maitso 7"
Singing From Fixed Rung 12"
Falkenauge, Katzengold & Taubenblut 12"
Hound Dog Taylor's Hand LP
A Music Man Like Nobody Ever Saw 5CD BOX
Street Fighter Riddim 12"
La Legge dei Gangsters (Gangster's Law) 2LP
French Disco Boogie Sounds Vol. 2, 1978-1985: Selected by Charles Maurice CD
Soundtracks For Takeshi Murata CD
Cologne Curiosities: The Unknown Krautrock Underground 1972-1976 CD
Live At Various / Various Live 2LP
Beatfreak! Vol. 3: Rare and Obscure British Beat 1966-1969 CD
Dustin E Presents... Cornflake Zoo: Episode Four CD
My Father's Place, NY, 20 July 1982 2CD
Retrospectivo 2008-2016 2CD
55 Historical Recordings Of Traditional Music From Greenland 1905-1987 CD
Unworks & Rarities 2012-15 LP
Look Now You're Cursed LP
The 50th Anniversary Collection Of Sunny CD
That's All I Wanna Know CD
Japanese Traditional Music: Songs of People at Work and Play - Kokusai Bunka Shinkokai 1941 CD